Search Results

Creator:

Kelker, Nancy L.  Search this

Names:

Casas, Mel, 1929-2014  Search this

Valdez, Vincent  Search this

Extent:

1.3 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Lectures

Sound recordings

Video recordings

Date:

1890-circa 2011

bulk 1968-2005

Summary:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Scope and Contents:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB and dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Arrangement:

The collection is arranged as three series.

Series 1: Interviews and Talks, 1999-2005 (Box 1; 4 folders, ER01; 0.001 GB)

Series 2: Research and Project Files, 1978-2001 (Box 1; 0.4 linear feet)

Series 3: Printed Materials, 1890-circa 2000 (Box 1, OVs 2-4; 0.5 linear feet)

Biographical / Historical:

Nancy Kelker (1951- ) is an art historian in Murfreesboro, Tennessee. and the author of Mel Casas: Artist as Cultural Adjuster.

Mel Casas (1929-2014) was a painter and educator in San Antonio, Texas. Casas was a member of Con Safo, an organization that promoted Chicano concepts and the Chicano art movement. Humanscapes, Casas' series of 150 paintings, was produced between 1965 and 1989 and has been exhibited throughout the U.S. and Mexico. Casas died in San Antonio, Texas. in 2014.

Provenance:

The Nancy Kelker research material regarding Mel Casas was donated in 2016 by Nancy Kelker.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Topic:

Chicano movement  Search this

Mexican American art  Search this

Latino and Latin American artists  Search this

Genre/Form:

Interviews

Lectures

Sound recordings

Video recordings

Citation:

Nancy Kelker research material regarding Mel Casas, 1890-circa 2011, bulk 1968-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.kelknanc

See more items in:

Nancy Kelker research material regarding Mel Casas

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b5141e8-5635-4d38-852f-4a8d3cacc57d

EDAN-URL:

ead_collection:sova-aaa-kelknanc

Creator:

Bengston, Billy Al  Search this

Names:

Ferus Gallery (Los Angeles, Calif.)  Search this

James Corcoran Gallery  Search this

John Berggruen Gallery (San Francisco, Calif.)  Search this

Martha Jackson Gallery  Search this

Alexander, Peter, 1939-  Search this

Altoon, John, 1925-  Search this

Andre, Carl, 1935-  Search this

Chamberlain, John, 1927-2011  Search this

Diebenkorn, Richard, 1922-1993  Search this

Flavin, Dan, 1933-  Search this

Goode, Joe, 1937-  Search this

Lichtenstein, Roy, 1923-1997  Search this

Motherwell, Robert  Search this

Plagens, Peter  Search this

Ruscha, Edward  Search this

Extent:

10.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Photographs

Date:

circa 1940s-1989

bulk 1960-1988

Summary:

The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Scope and Content Note:

The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.

Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.

Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.

Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.

Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.

Arrangement:

The collection is arranged into 10 series:

Missing Title

Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)

Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)

Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)

Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)

Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)

Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)

Series 7: Writings, 1967-circa 1988 (Box 9, OV 12; 0.25 linear feet)

Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)

Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 12-13; 1.25 linear feet)

Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)

Biographical Note:

Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.

Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.

Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.

Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.

Related Material:

Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.

Provenance:

The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.

Restrictions:

The collection is open for research. Use 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 -- California  Search this

Topic:

Works of art  Search this

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Genre/Form:

Interviews

Photographs

Citation:

Billy Al Bengston papers, circa 1940s-1989 (bulk 1960-1988). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

Identifier:

AAA.bengbill

See more items in:

Billy Al Bengston papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9100ab903-2685-4182-8e65-3886c54e0d7f

EDAN-URL:

ead_collection:sova-aaa-bengbill

Creator:

Lochrie, Elizabeth Davey, 1890-1981  Search this

New Deal and the Arts Oral History Project  Search this

Interviewer:

McGlynn, Betty Hoag  Search this

Names:

New Deal and the Arts Oral History Project  Search this

Extent:

16 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 Nov. 30-1965 Feb. 16

Scope and Contents:

An interview of Elizabeth Davey Lochrie conducted 1964 Nov. 30-1965 Feb. 16, by Betty Hoag, for the Archives of American Art.

Biographical / Historical:

Elizabeth Davey Lochrie (1890-1981) was a painter and sculptor of Butte, Mont.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 51 min.

Provenance:

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:

This interview is open for research. Contact Reference Services for more information.

Topic:

Federal aid to the arts  Search this

Painters -- Montana -- Interviews  Search this

Sculptors -- Montana -- Interviews  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.lochri64

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a1ef5077-607d-47a4-82a1-2aca4903695e

EDAN-URL:

ead_collection:sova-aaa-lochri64

Creator:

Lochrie, Elizabeth Davey, 1890-1981  Search this

Interviewer:

Ashton, Ruth  Search this

Extent:

3 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1954 June

Scope and Contents:

An interview of Elizabeth D. Lochrie conducted in 1954 June, by Ruth Ashton, of CBS.

Lochrie was interviewed on the occasion of her exhibit at the Francis Lynch Gallery in Los Angeles.

Biographical / Historical:

Elizabeth Davey Lochrie (1890-1981) was a painter and sculptor of Butte, Montana.

General:

Originally recorded on 1 sound tape. Reformatted in 2010 as 1 digital wav file. Duration is 5 min.

Provenance:

The tape was copied from an original recording made in June 1954, by Betty Hoag, AAA interviewer, and daughter of Lochrie.

Topic:

Art, American  Search this

Painters -- Montana -- Butte -- Interviews  Search this

Sculptors -- Montana -- Butte -- Interviews  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.lochri54

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99eaad912-73bb-42dd-95a3-28e258ca7215

EDAN-URL:

ead_collection:sova-aaa-lochri54

Creator:

DeWitt, John, 1910-1984  Search this

Names:

America 1976 (1976-1978: Washington, D.C.)  Search this

American artist and water reclamation (1973: Washington, D.C.)  Search this

Hereward Lester Cooke Foundation  Search this

United States. Bureau of Reclamation  Search this

Celmins, Vija, 1938-  Search this

Dodd, Lamar  Search this

Magafan, Ethel, 1915 or 1916-1993  Search this

McCoy, Ann Wyeth  Search this

Raffael, Joseph, 1933-  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Photographs

Scrapbooks

Date:

1962-1979

Summary:

The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs sponsored by the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are correspondence concerning the department's art projects and exhibition files for The American Artist and Water Reclamation, 1972, and America 1976.

Scope and Content Note:

The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs organized by DeWitt while working for the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are scattered correspondence concerning the department's art projects, including the Preservation of Endangered Species Art Program and activities of the Hereward Lester Cooke Foundation. There are letters from artists Vija Celmins, Lamar Dodd, and Ethel Magafan.

Files for the two exhibitions organized by DeWitt for the U.S. Bureau of Reclamation, The American Artist and Water Reclamation and America 1976, include a wide variety of materials. There are correspondence, lists of artwork, printed materials, a scrapbook, financial materials, audio recordings of interviews with DeWitt, audio recordings of a symposium on America 1976, and numerous photographs of exhibited artwork and participating artists. There are also additional photographs of DeWitt and his colleagues and artists Joseph Raffael and Ann Wyeth McCoy.

Arrangement:

The collection is arranged as 3 series; each series is arranged chronologically.

Missing Title

Series 1: Correspondence, 1965-1979 (Box 1; 10 folders)

Series 2: Exhibition Files, 1962-1978 (Box 1, 2; 1.3 linear feet)

Series 3: Photographs, 1970-1974 (Box 2; 1 folder)

Biographical Note:

John DeWitt was born in 1910 and was a wood sculptor and federal arts administrator in Washingon, D.C.

DeWitt began his career as a professional writer and was a wood sculptor connected with the Veerhoff Gallery in Washington, D.C. His wife, Miriam Hapgood DeWitt, was a painter. In the late 1960s, DeWitt was the Director of Art Programs for the Bureau of Reclamation, an agency of the Department of Interior responsible for water conservation in arid regions of the United States. At this time, the Bureau initiated a program to present its accomplishments to the public through arts commissions and exhibitions. Under the direction of DeWitt and Lloyd Goodrich of the Whitney Museum of American Art, some 40 artists including Ralston Crawford, Peter Hurd, and Norman Rockwell, were invited to depict the scope of reclamation projects in the American West. The artists were given a free hand to depict any scene in any medium as long as the subject matter pertained to the Bureau of Reclamation's program. The resulting artwork was displayed in an exhibition, The American Artist and Water Reclamation, that opened at the National Gallery of Art in April 1972, and then toured the country in a traveling exhibition sponsored by the Smithsonian Institution.

As the Director of the Visual Arts Program for the Department of the Interior, DeWitt celebrated the Bicentennial by organizing the exhibition America 1976, for which he hired over forty realist painters including Vija Celmins, Ralston Crawford, Alex Katz, Philip Pearlstein, and Wayne Thiebaud, to depict a diverse range of Americana. DeWitt was employed by the Department of the Interior until 1977.

John DeWitt died in 1984.

Provenance:

The John DeWitt papers were donated in 1987 by DeWitt's widow, Miriam Hapgood DeWitt.

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:

Arts administrators -- Washington (D.C.)  Search this

Genre/Form:

Interviews

Sound recordings

Photographs

Scrapbooks

Citation:

John DeWitt papers, 1962-1979. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.dewijohn

See more items in:

John DeWitt papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97958eaa1-1c25-42af-8cff-7fe4114adeba

EDAN-URL:

ead_collection:sova-aaa-dewijohn

Interviewee:

Magafan, Ethel, 1915 or 1916-1993  Search this

Interviewer:

Trovato, Joseph S., 1912-1983  Search this

Creator:

New Deal and the Arts Oral History Project  Search this

Names:

Federal Art Project (N.Y.)  Search this

New Deal and the Arts Oral History Project  Search this

Extent:

12 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 Nov. 5

Scope and Contents:

An interview of Ethel Magafan conducted 1964 Nov. 5, by Joseph S. Trovato for the Archives of American Art.

Magafan speaks of her earliest associations with the WPA Federal Art Project; receiving commissions for murals in post offices and government buildings; subject matter of the murals she painted; her life in Woodstock, N.Y.; and her work methods.

Biographical / Historical:

Ethel Magafan (1915 or 6 -1993) was a mural painter in Woodstock, N.Y. Birthdate cited as both Oct. 10, 1916 and Aug. 10, 1915.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 25 min.

Provenance:

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:

This interview is open for research. Contact Reference Services for more information.

Topic:

Federal aid to the arts  Search this

Mural painting and decoration -- New York (State)  Search this

Muralists -- New York (State) -- Interviews  Search this

Painters -- New York (State) -- Interviews  Search this

Women artists  Search this

Women muralists  Search this

Women painters  Search this

Genre/Form:

Sound recordings

Interviews

Identifier:

AAA.magafa64

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99330bc74-067f-41cd-83d9-1a06d29d1bdf

EDAN-URL:

ead_collection:sova-aaa-magafa64

Creator:

Blaine, Nell, 1922-1996  Search this

Names:

Griffin, Howard, 1915-1975  Search this

Harris, Carolyn, 1937-  Search this

Extent:

2.7 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1879

1940-1985

Summary:

The papers of New York painter, illustrator, and printmaker Nell Blaine measure 2.7 linear feet and date from 1879 (a single publication), and 1940-1985. The collection provides scattered documentation of Blaine's life and career through biographical material, correspondence, writings, business records, printed material, scattered artwork, and photographs. Also included in the collection are papers relating to the estate of Blaine's friend, Howard Griffin.

Scope and Contents:

The papers of New York painter, illustrator, and printmaker Nell Blaine measure 2.7 linear feet and date from 1879 (a single publication), and 1940-1985. The collection provides scattered documentation of Blaine's life, career, and relationships within the art world through biographical material, correspondence, writings, business records, printed material, scattered artwork, and photographs depicting Blaine's exhibitions, friends, homes, studios, and artwork. Also included in the collection are papers relating to the estate of Blaine's friend, Howard Griffin. A large proportion of the collection consists of photocopies of original papers and is annotated with Blaine's notes explaining the context and significance of many of the papers.

Arrangement:

The collection is arranged as 7 series.

Series 1: Biographical Material, 1950s-1985 (0.3 linear feet; Box 1)

Series 2: Correspondence, 1879, 1940-1985 (0.9 linear feet; Boxes 1-2)

Series 3: Writings and Notes, 1940s-1980s (0.1; Box 2)

Series 4: Personal Business Records, 1949-1983 (0.4 linear feet; Box 2)

Series 5: Printed Material, 1940s-1980s (0.5 linear feet; Boxes 2-3, OV 5)

Series 6: Artwork, circa 1950s-1984 (0.1 Linear feet; Box 3, OV 5)

Series 7: Photographs, 1940s-1980s (0.4 Linear feet; Boxes 3-4)

Biographical / Historical:

Nell Blaine (1922-1996) was a painter, printmaker, and illustrator from Richmond, Virginia, who was active in New York City, New York, and Gloucester Massachusetts. Blaine's early work was abstract, and later evolved to figurative and landscape painting.

Blaine was born in 1922 with severe visual impairments. She received corrective surgery as a child and quickly found a desire to draw and paint what she was finally able to see. Her art education began at the Richmond School of Art and later moved to New York City where she studied under Hans Hofmann. By 1943 Blaine had joined the American Abstract Artists group as the group's youngest member at the age of 21. This association led to her first solo exhibition at Jane Street Gallery, an early artists' cooperative, in 1945. Blaine was a founding member of the Greenwich Village gallery, and her circle of friends included New York artists and poets such as John Ashbery, Leland Bell, Rudy Burckhardt, Willem de Kooning, Robert De Niro Sr., Jane Freilicher, Kenneth Koch, Lee Krasner, Frank O'Hara, and Louisa Matthiasdottir. From 1943-1949 Blaine was married to musician Bob Bass. Blaine exhibited solo at the Tibor de Nagy Gallery in 1953 and was represented by the Poindexter Gallery and the Fischbach Gallery.

In the 1950s, Blaine moved to Paris where she lived with friends including Larry Rivers. She was also a close friend of poet and art writer Howard Griffin, and illustrated a limited edition of his Four Poems and served as executrix of his estate.

In 1959, Blaine contracted polio while traveling in Greece. She used a wheelchair for the rest of her life but was able to resume painting after intense rehabilitation to regain the use of her hands.

By the mid-1970s Blaine had moved to Gloucester, Massachusetts where she maintained a summer home for the rest of her life, while also sharing an apartment and studio in New York with artist Carolyn Harris, who was her partner for over thirty years.

Nell Blaine died in 1996 in New York City.

Related Materials:

Also found in the Archives of American Art are an interview of Nell Blaine conducted 1967 June 15, by Dorothy Seckler, and the Nell Blaine letters to Robert A. Wilson, 1963-1995.

Additional papers of Nell Blaine are also held by Harvard University.

Separated Materials:

The Archives of American Art also holds microfilm of scrapbooks loaned for microfilming on reel D311. Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Nell Blaine loaned a portion of her papers for microfilming on reel D311. She later donated her papers to the Archives of American Art in 1980 and 1985. The Howard Griffin papers included in the collection were received by Blaine as executrix of Griffin's estate.

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 -- New York (State) -- New York  Search this

Printmakers -- New York (State) -- New York  Search this

Illustrators -- New York (State) -- New York  Search this

Painters -- Massachusetts -- Gloucester  Search this

Printmakers -- Massachusetts -- Gloucester  Search this

Illustrators -- Massachusetts -- Gloucester  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Scrapbooks  Search this

Citation:

Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.blainell

See more items in:

Nell Blaine papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93f378bff-2465-43a6-a48b-3458d786cce4

EDAN-URL:

ead_collection:sova-aaa-blainell

Creator:

Sharrer, Honoré, 1920-2009  Search this

Names:

American Academy of Arts and Letters  Search this

Forum Gallery (New York, N.Y.)  Search this

Handmacher-Vogel, Inc.  Search this

Terry Dintenfass, Inc.  Search this

Women's Caucus for Art  Search this

Blume, Peter, 1906-1992  Search this

Bridaham, Lester Burbank  Search this

Caiserman-Roth, Ghitta, 1923-  Search this

Calderwood, Kathy, 1945-  Search this

Carpenter, Mary  Search this

Crutchfield, Mary  Search this

Goodwin, Betty  Search this

Kirstein, Lincoln, 1907-  Search this

Miller, Dorothy Canning, 1904-2003  Search this

Oda, Mayumi, 1941-  Search this

Poland, Reginald  Search this

Sachs, Honoré  Search this

Sharrer, Madeleine  Search this

Tooker, George, 1920-2011  Search this

Zagorin, Adam  Search this

Zagorin, Perez  Search this

Extent:

9.45 Linear feet

1.12 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Photographs

Date:

circa 1920-2007

Summary:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Scope and Contents:

The papers of realist painter, Honoré Sharrer, measure 9.45 linear feet and 1.12 GB and date from circa 1920-2007. The collection documents Sharrer's career through biographical material, personal and professional correspondence, writings and notes, research and source files, printed and digital material, artwork, sketchbooks, and photographs of Sharrer, her family, friends, colleagues, and artwork.

Biographical material includes biographical notes and resumés, awards, paintbrushes used by Sharrer, and sales records, as well as comprehensive documentation, compiled 2004-2007 by her husband, Perez Zagorin, and her son, Adam Zagorin, of Sharrer's artwork in their possession. Included are digital images of Sharrer's artwork.

Correspondence is with family members including Sharrer's mother, Madeleine Sharrer, and her second husband, Reginald Poland; husband Perez Zagorin; son Adam Zagorin; and daughter-in-law, Mary Carpenter Also found is correspondence with artists including Peter Blume, Lester Burbank Bridaham, Gitta Caiserman-Roth, Kathy Calderwood, Mary Crutchfield, Betty Goodwin, Lincoln Kirstein, Mayumi Oda, and George Tooker. Other professional correspondents include galleries, museums, and other art institutions such as American Academy of Arts and Letters, Terry Dintenfass, Forum Gallery, Handmacher-Vogel, Inc., M. Knoedler & Co., Dorothy Miller relating to the 1946 Fourteen Americans exhibition at the Museum of Modern Art, and the Women's Caucus for Art.

Writings and notes comprise drafts of several essays on art by Sharrer, preliminary notes for Tribute to the American Working People, and a mock-up for an unpublished book, "One White Christmas," written by Sharrer's grandmother, Honoré Sachs, and illustrated by Sharrer.

Research and source files consist of source material used throughout the course of Sharrer's career, including printed and photographic material used in the creation of Tribute to the American Working People, and later work dating up to, and including, the last decade of her life.

Printed material comprises announcements and catalogs for exhibitions and events featuring Sharrer, including a catalog for Fourteen Americans, as well as clippings about her and others, such as the Life Magazine cover story "Nineteen Young Americans."

Artwork and sketchbooks include studies for paintings and illustrations, and other preliminary sketches, as well as 14 sketchbooks of pencil and ink sketches dating from circa 1960s t0 2003.

Photographic material consists of photos of Sharrer, her family, friends, colleagues, exhibition installations, and houses. Also found are photos, negatives, and transparencies of Sharrer's artwork, as well as photos of artwork by Madeleine Sharrer and Lester Burbank Bridaham.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1941-2007 (0.44 linear feet; Boxes 1, 10, 1.12 GB; ER01-ER10)

Series 2: Correspondence, 1938-2006 (1.84 linear feet; Boxes 1-3, 10)

Series 3: Writings and Notes, circa 1940s-circa 1990s (5 folders; Boxes 3, 10)

Series 4: Research and Source Files, circa 1920s-2005 (3.43 linear feet; Boxes 3-6, 10-11)

Series 5: Printed Material, circa 1930s-2005 (0.85 linear feet; Boxes 6-7, 11, OV 13, OV 17)

Series 6: Artwork, 1941-circa 1990s (0.8 linear feet; Boxes 7, 11-12, OV 13

Series 7: Sketchbooks, 1960s-2003 (0.55 linear feet; Boxes 7, 12)

Series 8: Photographic Material, circa 1930s-circa 2000 (1.83 linear feet; Boxes 8-9, 12, OVs 13-16)

Biographical / Historical:

Realist painter Honoré Sharrer (1920-2009) lived and worked in New York, Massachusetts, London, Montreal and Charlottesville, Virginia. She was best known for her five-panel painting, Tribute to the American Working People, completed in 1951 and first shown at M. Knoedler & Co. in New York to wide critical acclaim.

Sharrer was born in 1920 in West Point, New York, where her father was an Army officer, and grew up in the United States, the Philippines, Paris, and La Jolla, California. She studied at the Yale University School of Art and the San Francisco Art Institute, and worked as a welder in shipyards in California and New Jersey during World War II. She moved to New York in the 1940s and lived subsequently in Amherst, Massachusetts, London, and Montreal.

Sharrer's Workers and Paintings (1943) was included in the landmark Museum of Modern Art exhibition, Fourteen Americans, in 1946, and her painting, Man at Fountain, was featured in the 1950 Life Magazine cover story, "Nineteen Young American Artists." Tribute to the American Working People, which depicted a factory worker surrounded by smaller scenes of ordinary life, was considered her masterwork, but in the years that followed it's unveiling at M. Knoedler & Co., Sharrer was noticeably absent from the art scene; between 1951 and 1969 she did not have a single solo exhibition. While many of her contemporaries immersed themselves in Abstract Expressionism, Sharrer continued to paint, in meticulous detail, the daily experiences of ordinary working people, and her later work often dealt with female perspectives and was imbued with humor and elements of magical realism.

In 2007 the Smithsonian American Art Museum held an exhibition titled Anatomy of a Painting: Honoré Sharrer's 'Tribute to the American Working People,' which was devoted exclusively to her most famous work, now in the Smithsonian's permanent collection, and the source material she used when painting it. Sharrer's works can also be found in the Metroplitan Museum of Art, the Museum of Modern Art, and the Pennsylvania Academy of Fine Arts.

Sharrer settled in Charlottesville, Virginia, in the early 1990s. She was married to her second husband, historian Perez Zagorin, for 61 years, before her death in 2009. Her mother, Madeleine Sharrer, was also a painter who married Reginald Poland, Director of the Fine Arts Gallery, San Diego, following the death of Sharrer's father, Robert Allen Sharrer.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Perez Zagorin, 2007, January 17-18, and the Madeleine Sharrer papers, 1954-1988.

Provenance:

The Honoré Sharrer papers were donated in 2006 and 2007 by Perez Zagorin, Sharrer's husband. A small addition was donated by Adam Zagorin, Sharrer's son, in 2018.

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.

Occupation:

Painters -- Virginia  Search this

Painters -- New York (State)  Search this

Topic:

Painting -- Equipment and supplies  Search this

Realism  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sketchbooks

Photographs

Citation:

Honoré Sharrer papers, circa 1920-2007. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.sharhono

See more items in:

Honoré Sharrer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99c06a9fc-29d0-42ee-9a3a-d6d2558dfc77

EDAN-URL:

ead_collection:sova-aaa-sharhono

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Extent:

(6 folders; see also: CARA; Garcia, Rupert; Gronk; Box 30; OV 32)

Container:

Box 15, Folder 32-37

Type:

Archival materials

Scope and Contents note:

(exhibition announcements; exhibition brochures; catalogs; resume; sales receipt; book by Lomas Garza, Papel Picado: Paper Cutout Techniques, Xicanindio Arts Coalition, Mesa, Arizona, 1984; TYF's notes on Lomas Garza; clippings; oversize materials; slides; note to TYF from Lomas Garza, undated; note to TYF and Dudley, from Lomas Garza, undated; typescript of essay on Lomas Garza by TYF, from the catalog, Carmen Lomas Garza: Lo Real Maravilloso: the Marvelous/The Real, The Mexican Museum, San Francisco, 1988; catalog, Mano a Mano: Abstraction/Figuration: 16 Mexican-American & Latin-American Painters from the San Francisco Bay Area, The Art Museum of Santa Cruz County and University of California Santa Cruz, 1988; Festival Internaxional de la Raza, "Los Artistas Chicanos del Valle de Tejas: Narradores de Mitos Y Tradiciones," 1991; Handwritten transcript of interview with Lomas Garza by TYF; polaroid photographs of Lomas Garza; memo to Dudley and TYF from Vincente M. Martinez, Acting Chief Curator Millicent Rogers Museum, 04/03/1995, re. invitations to exhibition opening and loan of piece)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92227dc1a-8e69-4967-a093-cff997cfa58a

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1011

Creator:

Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery  Search this

Names:

Park Place Gallery Art Research, Inc.  Search this

Paula Cooper Gallery  Search this

Paula Johnson Gallery  Search this

Bartlett, Jennifer, 1941-  Search this

Campus, Peter, 1937-  Search this

Cooper, Paula, 1938-  Search this

Di Suvero, Mark, 1933-  Search this

Fleming, Dean  Search this

Forakis, Peter  Search this

Grosvenor, Robert, 1937-  Search this

Leonard, Zoe  Search this

Magar, Anthony, 1936-  Search this

Melcher, Tamara  Search this

Murray, Elizabeth, 1940-  Search this

Myers, Forrest Warden, 1941-  Search this

Novros, David, 1941-  Search this

Ruda, Edwin  Search this

Shields, Alan, 1944-  Search this

Smith, Tony, 1912-1980  Search this

Thompson, Bob, 1937-1966  Search this

Valledor, Leo, 1936-1989  Search this

Extent:

135.3 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Transcripts

Photographs

Date:

circa 1961-2018

Summary:

The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery. There is an 85.5 linear foot unprocessed addition to this collection donated in 2023 that includes artist files, exhibition files, correspondence, audiovisual material, archtectural plans and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.

Scope and Content Note:

The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 135.3 linear feet and 0.001 GB and date from circa 1961 to 2018. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.

The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.

Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.

Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.

The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.

There is an 85.5 linear foot unprocessed addition to this collection donated in 2022 that includes artist files, exhibition files, correspondence, audiovisual material, architectural plans, and miscellaneous business records from Paula Cooper Gallery. Materials date from circa 1970-2018.

Arrangement:

The collection is arranged as 4 series:

Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)

Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)

Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)

Series 4: Unprocessed Addition, circa 1970-2018 (Boxes 53-138, OV 139-146; 85.5 linear feet)

Historical Note:

The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.

Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.

The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.

Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.

Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.

Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich Rückriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.

Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).

Related Material:

Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)

Provenance:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in thre accessions in 2006, 2009 and 2022.

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 and born-digital records in this collection must use access copies. Contact References Services for more information.

Rights:

All collection material in boxes 1-52, except photographs: Permission to quote, publish or reproduce requires written permission from Paula Cooper. 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.

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Interviews

Transcripts

Photographs

Citation:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund

Identifier:

AAA.parkplag

See more items in:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw926d9e348-f361-4c9a-bec4-7cb8f9c08556

EDAN-URL:

ead_collection:sova-aaa-parkplag

Creator:

Arnold, Florence M., 1900-1994,  Search this

Type:

Sketchbooks

Video recordings

Interviews

Citation:

Florence Millner Arnold papers, circa 1920-1994. 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

Creator:

Brook, Alexander, 1898-1980  Search this

Subject:

Bacon, Peggy  Search this

Biddle, George  Search this

Brett, Catherine  Search this

Covarrubias, Miguel  Search this

Pollock, Jackson  Search this

Spencer, Niles  Search this

Knee, Gina  Search this

Bouché, Louis  Search this

Type:

Photographs

Watercolors

Sketches

Transcriptions

Scrapbooks

Sketchbooks

Interviews

Etchings

Illustrations

Citation:

Alexander Brook papers, 1900-1982. Archives of American Art, Smithsonian Institution.

Topic:

Post-impressionism (Art)  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6833

(DSI-AAA_SIRISBib)208960

AAA_collcode_brooalex

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208960

Creator:

Davis, Jim, 1901-1974  Search this

Subject:

Marin, John  Search this

Wright, Frank Lloyd  Search this

Type:

Drawings

Citation:

James Edward Davis papers, circa 1917-1970. Archives of American Art, Smithsonian Institution.

Theme:

Photography  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7390

(DSI-AAA_SIRISBib)209547

AAA_collcode_davijame

Theme:

Photography

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209547

Creator:

Botkin, Henry, 1896-1983  Search this

Subject:

Artists Equity Association  Search this

Federation of Modern Painters and Sculptors  Search this

Gallery 256 (Provincetown, Mass.)  Search this

Type:

Drawings

Scrapbooks

Sound recordings

Interviews

Citation:

Henry Botkin papers, circa 1927-1982. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7456

(DSI-AAA_SIRISBib)209614

AAA_collcode_botkhenr

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209614

Creator:

Deutsch, Boris, 1892-1978  Search this

Subject:

United States. Public Buildings Administration. Section of Fine Arts  Search this

Citation:

Boris Deutsch papers, circa 1912-1979. Archives of American Art, Smithsonian Institution.

Topic:

Mural painting and decoration -- 20th century -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7521

(DSI-AAA_SIRISBib)209680

AAA_collcode_deutbori

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209680

Creator:

Wilson, Sol, 1896-1974  Search this

Subject:

Hopper, Edward  Search this

Bouché, Louis  Search this

Burliuk, David  Search this

Evergood, Philip  Search this

Babcock Galleries  Search this

Citation:

Sol Wilson papers, 1919-1975. Archives of American Art, Smithsonian Institution.

Topic:

Painting, American  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9380

(DSI-AAA_SIRISBib)211577

AAA_collcode_wilssol

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211577

Creator:

Caja, Jerome D., 1958-1995  Search this

Type:

Sketchbooks

Moving images

Sound recordings

Video recordings

Citation:

Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Topic:

Gay artists  Search this

Artists (LGBTQ)  Search this

AIDS (Disease)  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6515

(DSI-AAA_SIRISBib)215774

AAA_collcode_cajajero

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215774

Interviewee:

Biddle, George, 1885-  Search this

Interviewer:

Phillips, Harlan B., 1920-1979,  Search this

Subject:

Bacon, Peggy  Search this

Benton, Thomas Hart  Search this

Billings, Henry  Search this

Bruce, Edward  Search this

Cahill, Holger  Search this

Demuth, Charles  Search this

Evergood, Philip  Search this

Grosz, George  Search this

Halpert, Edith Gregor  Search this

Hartley, Marsden  Search this

Marsh, Reginald  Search this

Miller, Kenneth Hayes  Search this

Orozco, José Clemente  Search this

Rivera, Diego  Search this

Robinson, Boardman  Search this

Siqueiros, David Alfaro  Search this

Sterne, Maurice  Search this

Stieglitz, Alfred  Search this

Tamayo, Rufino  Search this

Weber, Max  Search this

Zorach, William  Search this

Cassatt, Mary  Search this

Pascin, Jules  Search this

Poor, Henry Varnum  Search this

Curry, John Steuart  Search this

Bouché, Louis  Search this

Kroll, Leon  Search this

Zorach, William  Search this

Public Works of Art Project  Search this

New Deal and the Arts Oral History Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with George Biddle, 1963. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Censorship  Search this

Federal aid to the arts  Search this

Painters -- New York (State) -- New York -- Interviews  Search this

Sculptors -- New York (State) -- Interviews  Search this

Theme:

New Deal  Search this

Record number:

(DSI-AAA_CollID)12696

(DSI-AAA_SIRISBib)213269

AAA_collcode_biddle63

Theme:

New Deal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213269

Creator:

Caja, Jerome, 1958-1995  Search this

Extent:

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Moving images

Sound recordings

Video recordings

Date:

circa 1920-1995

Summary:

The papers of painter Jerome Caja measure 7.9 linear feet and date from circa 1920 to 1995. The papers document his career as an artist in San Francisco through biographical material; correspondence with family, friends, art organizations, and galleries; poetry, prose, and other writings; exhbiition announcements, newspaper and magazine clippings, and other printed materials, gallery and exhibition files; artwork, including sketchbooks and numerous small paintings, sketches and drawings, photographs; audiovisual materials including film reels, vido and audio cassettes.

Scope and Contents:

The papers of painter Jerome Caja measure 7.9 linear feet and date from circa 1920 to 1995. The papers document his career as an artist in San Francisco through biographical material; correspondence with family, friends, art organizations, and galleries; poetry, prose, and other writings; exhbiition announcements, newspaper and magazine clippings, and other printed materials, gallery and exhibition files; artwork, including sketchbooks and numerous small paintings, sketches and drawings, photographs; audiovisual materials including film reels, vido and audio cassettes.

Biographical Material includes a family history, a short autobiography, school documents from elementary through college, yearbooks, identifications and certificates. Correspondence includes letters numerous letters from parents, letters from some brothers, and letters from friends. Writings consist primarily of short plays and skits by Caja, prose and poetry, a journal, and writings by friends. Gallery and Exhibition Files consist of correspondence, inventory and price lists, exhibition announcements and catalogs, and contracts from museums and galleries where Caja did exhibitions or auctions. Personal Business Records consist of price lists, invoices, receipts for works he sold to individuals or institutions. Printed Materials consist of newspaper and magazine clippings detailing Caja's exhibition or his involvement in the gay scene of San Francisco. There are also books with inscriptions that were given to Caja by friends, and there are publication materials that belonged to Caja.

Artwork primarily consists of numerous small drawings and sketches in ink, chalk, and nail polish. Also included are sketchbooks of Caja's drawings and oversized paintings and sketches. Photographs primarily consist of personal photos of Caja and his family during his childhood, photos of his grand parents and geat grandparents, and photos of nieces and nephews. There are also photos and slides of his ceramic work and some of his paintings and sketches. The majority of the photos are of Caja taking part in various events around San Francisco. Audio-Visual Materials consists of video cassettes, audio cassettes, and motion picture reels. Videos document Caja reading his book, Caja taking part in events in San Francisco, his artwork, and a movie that he was featured in. Audio cassettes consist primarily of music, but also of Caja reading stories. Film material consists of people working in an artist's workshop, a pool party, and a satirical narrative between children and their mother.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Material, 1949-1994 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1980-1995 (0.5 linear feet; Box 1)

Series 3: Writings, circa 1980-1995 (0.3 linear feet; Box 1-2)

Series 4: Gallery and Exhibition Files, 1982-1995 (0.4 linear feet; Box 2)

Series 5: Personal Business Records, 1990-1995 (0.2 linear feet; Box 2)

Series 6: Printed Material, 1960-1995 (1.3 linear feet; Box 2-3, Box 9)

Series 7: Artwork, circa 1980-1995 (1.7 linear feet: Box 4-5, Box 9, OV 10-12, Artifact)

Series 8: Photographs, circa 1920-1995 (1.8 linear feet; Box 5-6, Box 9, OV 11)

Series 9: Audio-Visual Material circa 1980-1995 (1.4 linear feet; Box 7-8, FC 16-23)

Biographical / Historical:

Jerome Caja (1958-1995) was a painter who worked primarily in San Francisco, CA. Caja was born in Ohio in 1958 and attended Clevaland State University. He moved to San Francisco in the 1980s and attended the San Francisco Art Institute from which he graduated in 1984. Caja pushed the boundaries of gender, performance, and art in the nightclub scene in San Francisco during the late 1980s and early 1990s. Caja died from complications related to HIV in 1995, during height of the AIDS-Art-Activism era in San Francisco.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Jerome Caja conducted by Paul Karlstrom, August 23-September 29, 1995, and Letters from Jerome Caja to Anna van der Meulen, 1995.

Provenance:

The Jerome Caja papers were donated in two installments from 1994 to 1995. The first installment was donated by Jerome Caja in 1994, and the second installment was donated by Anna van der Meulen, executor of Caja's estate, in 1995.

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 -- San Francisco  Search this

Topic:

Gay artists  Search this

Artists (LGBTQ)  Search this

AIDS (Disease)  Search this

Genre/Form:

Sketchbooks

Moving images

Sound recordings

Video recordings

Citation:

Jerome Caja papers, circa 1920-1995. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cajajero

See more items in:

Jerome Caja papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c2f9d6a7-e986-4ec0-aad0-03ec1851addc

EDAN-URL:

ead_collection:sova-aaa-cajajero

Creator:

Dickinson, Eleanor, 1931-  Search this

Names:

Artists Equity Association  Search this

California College of Arts and Crafts  Search this

College Art Association of America  Search this

San Francisco Art Institute  Search this

Women's Caucus for Art  Search this

Extent:

29.8 Linear feet

0.002 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Video recordings

Sound recordings

Interviews

Date:

1947-2014

Summary:

The papers of painter, graphic and video artist, and educator Eleanor Dickinson measure 29.8 linear feet and 0.002 gigabytes, and date from 1947 to 2014. The collection comprises biographical materials; professional and personal correspondence; video and sound recordings of interviews for Dickinson's television program Art of the Matter; exhibition files; teaching files for the California College of Arts and Crafts and other professional and project files; research and subject files; membership records, including born-digital material, and sound and video recordings, for various organizations; personal financial and legal records; printed materials featuring Dickinson and her artwork; and photographic materials of Dickinson in her studio and with friends, colleagues, and family, as well as exhibitions and other art events, and works of art.

Scope and Contents:

The papers of painter, graphic and video artist, and educator Eleanor Dickinson measure 29.8 linear feet and 0.002 gigabytes, and date from 1947 to 2014.

The collection comprises biographical materials containing datebooks, certificates, resumes, and sketches; professional and personal correspondence; video and sound recordings of interviews for Dickinson's television program Art of the Matter; exhibition files for Spirit in the Land: Photographs from the Bible Belt (1987) and various group exhibitions; files documenting Dickinson's professional activities outside of teaching at the California College of Arts and Crafts; and files that include video recordings for projects on artist's models, Revival!, and gender discrimination in the art field.

Also found are research and subject files on Howard Finster, professionalism in art, and other topics; California College of Arts and Crafts teaching files consisting of student and faculty records, course material, and administrative records; membership records that include born-digital material, and sound and video recordings for Artists Equity Association, Women's Caucus for the Arts, and other organizations; records documenting Dickinson's personal financial and legal dealings that include artwork sales records, studio expenses, and lists of artworks in the Eleanor and Wade Dickinson Art Collection; printed materials featuring Dickinson and her artwork; and photographic materials depicting Dickinson in her studio and with friends and colleagues, family, exhibitions and art events, and works of art.

Arrangement:

The collection is arranged as 12 series.

Series 1: Biographical Materials, 1957-2014 (1.0 linear feet; Box 1, OVs 32, 36)

Series 2: Correspondence, 1954-2013 (3.0 linear feet; Boxes 1-4)

Series 3: Interviews, 1976-2000 (2.5 linear feet; Boxes 4-7)

Series 4: Exhibition Files, 1960-2012 (0.8 linear feet; Boxes 7-8)

Series 5: Professional Files, 1963-circa 2005 (0.5 linear feet; Box 8, OV 34)

Series 6: Project Files, 1955-2001 (4.5 linear feet; Boxes 8-13, OVs 32-33)

Series 7: Research and Subject Files, circa 1970-circa 1997 (1.5 linear feet; Boxes 13-15)

Series 8: California College of Arts and Crafts Teaching Files, 1962-2002 (1.5 linear feet; Boxes 15-16)

Series 9: Membership Records, 1947-2014 (8.0 linear feet; Boxes 17-24, 31, OV 34, ER01)

Series 10: Personal Business Records, 1957-2011 (2.0 linear feet; Boxes 25-26)

Series 11: Printed Materials, 1951-2011 (4.0 linear feet; Boxes 26-30, OVs 32-33, 35-36)

Series 12: Photographic Materials, 1958-2012 (6 folders; Box 30)

Biographical / Historical:

Eleanor Dickinson (1931-2017) was a painter, graphic and video artist, and educator in San Francisco, C.A.

Dickinson was born in Knoxville, Tennessee in 1931. Shortly after graduating from University of Tennessee in 1952 with a Bachelor of Arts, Dickinson moved to California and established a studio in San Francisco. There she immersed herself in the counterculture of the 1960s, becoming friends with Allen Ginsberg and producing a poster with Ginsberg's fellow Beat poet Lawrence Ferlinghetti.

Dickinson attended the San Francisco Art Institute from 1961 to 1963. In 1971, she traveled to Paris to study drawing at the Académie de la Grande Chaumière. Dickinson taught at the California College of Arts and Crafts (CCAC) from 1971 to 2001 where she also received her Master of Fine Arts in film and video in 1982. At the CCAC, she taught a series of courses on art business and management. Her interest in the professional aspects of the art field led to the creation of her cable access show, Art of the Matter, that featured guests speaking on topics such as art management, law, financial matters, insurance, and other practical issues related to being a professional artist.

Dickinson's continuing interest in and activism for the rights and well-being of artists also influenced her work with the Artists Equity Association, the Women's Caucus for the Arts, and numerous other organizations. Though extremely active in the art world of the West Coast, she never forgot her southern roots and continued to visit Tennessee annually. Dickinson's close connection to her birthplace is evident throughout her career, with Southern religion often being central to her work. Among her most prominent projects are the multifaceted exhibition Revival!, the documentary "Artist's Models of San Francisco," the ink drawings seen in Old Lovers, and illustrations for the books Complete Fruit Cookbook and That Old-Time Religion.

Dickinson was married to Wade Dickinson and had three children: Mark, Katy, and Daniel. Dickinson died in San Francisco, California, in 2017.

Related Materials:

Also found in the Archives of American Art is an oral history with Eleanor Dickinson conducted on October 25, 2000 by Paul Karlstrom, for the Archives of American Art, in Dickinson's studio/home, in San Francisco, California.

Provenance:

The Eleanor Dickinson papers were donated from 1979 to 2005 by Eleanor Dickinson and in 2017 by the Eleanor Creekmore Dickinson Charitable Art Trust.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or 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 -- San Francisco  Search this

Video artists -- California -- San Francisco  Search this

Graphic artists -- California -- San Francisco  Search this

Educators -- California -- San Francisco  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women educators  Search this

Genre/Form:

Drawings

Video recordings

Sound recordings

Interviews

Citation:

Eleanor Dickinson papers, 1947-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.dickelea

See more items in:

Eleanor Dickinson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ac3c9eec-0600-4a48-a78a-febb483241e2

EDAN-URL:

ead_collection:sova-aaa-dickelea