The scattered papers of painter Judith-Ann Saks measure 0.2 linear feet, date from 1953 to 1977, and consist of printed materials and a scrapbook compiled by Saks which contains letters and printed materials.
Scope and Contents:
The scattered papers of painter Judith-Ann Saks measure 0.2 linear feet, date from 1953 to 1977, and consist of printed materials and a scrapbook compiled by Saks which contains letters and printed materials.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Judith-Ann Saks (1943- ) is a painter in Houston, Texas. She studied at the Texas Academy of Art, the Museum of Fine Arts in Houston, Rice University, and the University of Houston.
Separated Materials:
Portions of the papers, including material documenting the history of Saks's career, correspondence, photographs, exhibition announcements and catalogs, and clippings regarding the work Saks did with the Houston Port Authority for the Bicentennial Project, were microfilmed onto reel 1496 as part of the Archives of American Art's Texas project. The loaned portion was returned after microfilming and is not described in the collection container inventory.
Provenance:
Saks loaned material for microfilming and donated additional papers in 1979.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Stable Gallery records, 1916-1999, bulk 1953-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Lichtenstein Foundation.
This microfilm collection consists of sketches, drawings, and five prints by African American artist John Thomas Biggers and date from 1940 to 1967. It includes studies for Dying Soldier, Preacher Mural, Web of Life, and other murals, as well as a family portrait dated 1948.
Biographical / Historical:
John Thomas Biggers (1924-2001) was an African American painter, muralist, and educator in Houston, Texas. He founded the art department at Texas Southern University in 1949, serving as director until 1983. Biggers also wrote Ananse: the Web of Life in Africa, published in 1962.
Related Materials:
The Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library holds the John Biggers papers, 1950-2001
Provenance:
Microfilmed as part of the Archives of American Art's Texas project.
Lent for microfilming 1981 by Dr. John Thomas Biggers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Scope and Contents:
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Biographical / Historical:
Andy Nasisse (1946-) is a ceramicist sculptor, potter, and former professor at the University of Georgia. Starting in the 1970s, he visited self-taught artists and photographed their art, environments and, in some cases, conducted interviews with them. He has had a solo exhibition at the Museum of Contemporary Art Georgia and is the recipient of the Art Regional Fellowship from the National Endowment for the Arts.
Miles Carpenter (also known as Miles Burkholder Carpenter or Miles B. Carpenter) (1889-1985) was a sculptor active in Waverly, Virginia who carved figures and animals from wood and referred to some as "advertisements."
Tessie Carroll was an Oklahoma folk artist known for her rock sculptures and carvings.
Eldren M. (E.M.) Bailey (1903-1987) was an African American sculptor and painter from Atlanta, Georgia whose sculptures were influenced from his background making grave markers.
Emanuel "Litto" Damonte (1892-1985) started collecting hubcaps in 1957 and created an art environment on his property in Napa Country, California, known as Hubcap Ranch.
Samuel Perry (S.P). Dinsmoor (1843-1932) was a Kansan sculptor who designed a sculpture garden at his home called the Garden of Eden," consisting of over 200 concrete works reflecting his religious and political beliefs.
Sam Doyle (1906-1985) was an African American artist born on St. Helena, an island off the coast of South Carolina, whose colorful paintings document the island's people and Gullah culture.
John Ehn (1887-1981) was a former trapper turned sculptor who decorated the landscape of his Californian motel, Old Trapper's Lodge, with sculptures depicting myths and the Old West.
Howard Finster (1916-2001) was a Georgian folk artist and Baptist minister known for his former home, Paradise Garden, consisting of constructions, found objects and sculptures.
Laura Pope Forrester (1873-1953) was a sculptor who created figurative works in her Georgian garden that depicted notable women and fictional characters.
Dilmus Hall (1896-1987) was an African American artist whose sculptural works are associated with religious customs that combine African traditions and Christianity.
Irene Hall was an Oklahoman artist who decorated her home with sculptural works she had made with found objects.
Bessie Harvey (1929-1994) was an African American folk artist from Tennessee who created wooden sculptures often inspired by nature.
Eddie Owens Martin "St. EOM" (1908-1986) was a Georgian artist who created a visionary art environment called Pasaquan.
Jeff McKissack (1902-1980) is the creator of The Orange Show, an art environment constructed in Houston Texas to honor his favorite fruit.
John Milkovitch (1912-1988) was a retired upholsterer who constructed the Beer Can House, by decorating his home with over 50,000 fattened beer cans.
J. B. Murry (1910-1988) (also known as J.B. Murray) was an African American painter who incorporated illegible text in his work which he interpreted with the use of a bottle of well water.
Tressa "Grandma" Prisbrey (1896-1988) constructed numerous structures out of bottles and found objects at her home creating what became known as Grandma Prisbrey's Bottle Village.
Dow Pugh (1906-1993) was an artist from Tennessee who created paintings and sculptural works.
W. T. Ratcliffe was an engineer who, in the 1930s created sculptures in Boulder Park in Jacumba, California.
William Carlton Rice (1930-2004) was a self-ordained minister who created a Cross Garden around his home in Alabama.
Royal Robertson (1936-1997) was an African American artist and self-proclaimed prophet from Louisiana whose work incorporated biblical themes, and references to "girlie magazines" and comic strips.
James "Son Ford" Thomas (1926- 1993) was an African American sculptor and blues musician from Mississippi who is known for his clay skull sculptures.
Mose Tolliver (1919-2006) was an African American folk painter from Alabama who painted with house paint on wood.
Frank van Zant "Chief Rolling Mountain Thunder" (1921-1989) was an Oklahoman artist who created a park in Nevada dedicated to the American Indian known as Thunder Mountain Monument.
Brother Joseph Zoettl (1878-1961) was a monk who constructed a miniature city of famous religious buildings at St. Bernard Abbey known as Ave Maria Grotto.
Related Materials:
Also found in the Archives of American Art are the Photographs and videos of self-taught artists; Willie Ann Wright photographs; Howard Finster papers; John F. Turner research material on Howard Finster; Howard Finster interview and recordings; Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry; Willem Volkersz interviews; and J. B. Murray drawings. There is also an oral history interview with Howard Finster conducted by Liza Kirwin in 1984.
The California State University, Channel Islands holds the Prisbrey bottle village collection. The University of North Carolina at Chapel Hill holds the Judith McWillie papers. The University of Georgia Special Collections Libraries holds the Howard Finster collection and the Howard Finster Tapes.
Provenance:
The Andy Nasisse files relating to self-taught artists were donated to the Archives of American Art by Andy Nasisse in 1985.
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:
Video on J.B. Murray: Authorization to publish, quote, or reproduce requires written permission from Andy Nasisse. 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.
The papers of African American painter, printmaker, and educator Marvin Harden measure 2.2 linear feet and date from circa 1936 to 2005. Found within the papers are biographical materials, correspondence, teaching files, exhibition files, printed material, artwork, and photographs. Correspondents include Joyce Tremain, Judy Chicago, Marion Lerner Levine, Jud Fine, Houston Conwill, Sandy Ballatore-Nelson, Nancy Lee Riegelmen, Eugene Anderson, Connor Everts, Pleter Plagens, Jan Stussy, Caroll Toon, William Wilson, and others. Artwork includes a book of etchings Natural Selections (1991).
Scope and Contents:
The papers of African American painter, printmaker, and educator Marvin Harden measure 2.2 linear feet and date from circa 1936 to 2005. Found within the papers are biographical materials, correspondence, teaching files, exhibition files, printed material, artwork, and photographs. Artwork includes a book of etchings Natural Selections (1991).
Biographical material includes papers pertaining to Harden's education and family history, including an essay written by his sister Lura Harden Miller.
Correspondence is with artists, colleagues, and organizations, including Eugene Anderson, Sandy Ballatore-Nelson, William Brice, Judy Chicago, Houston Conwill, Connor Everts, Jud Fine, Marion Lerner Levine, Pleter Plagens, Nancy Lee Riegelmen, Jan Stussy, Caroll Toon, William Wilson, Dobrick Gallery, Eugenia Butler Gallery, Gloria Cortella, Inc., Hank Baum Gallery, Jan Turner Gallery, Los Angeles County Museum of Art, and the Museum of Modern Art, among others.
Teaching files primarily document Harden's career as an art educator at California State University, Northridge. Materials include teaching awards, assignments, course outlines, notes, and miscellaneous writings by Harden about his teaching philosophy. The files also contain correspondence and photographs with students, a student exhibition guest register, committee notes, memorandums, and evidence pertaining to an employment-related grievance with the university.
Exhibition files include announcements, correspondence, exhibition catalogs, floor plans, insurance documents, loan agreements, photographs, press releases, and price lists.
Printed material consists of announcements and invitations, exhibition catalogs, and a loose clippings scrapbook with articles and reviews about Harden's artwork and exhibitions. Also found is a copy of the first volume of the Journal published by the Los Angeles Institute of Contemporary Art, which includes a photograph of Harden and references to his involvement in developing the organization.
Artwork includes two sketches and an artists' book entitled natural selections which contains 12 aquatint etchings by Marvin Harden.
Among the black and white and color photographs are portraits and snapshots of Marvin Harden, family members, and colleagues, as well as Harden's home, studio, and land at Inwardness Ranch located near Cambria, California.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Material, 1950-1991 (Box 1; 5 folders)
Series 2: Correspondence, 1964-2005 (Box 1; 0.6 linear feet)
Series 3: Teaching Files, circa 1964-2003 (Box 1; 0.4 linear feet)
Series 4: Exhibition Files, 1966-2004 (Boxes 1-2; 0.6 linear feet)
Series 5: Printed Material, circa 1964-2003 (Box 2; 0.6 linear feet)
Series 6: Artwork, 1989-2000 (Box 2; 2 folders)
Series 7: Photographs, circa 1936-2001 (Box 2; 7 folders)
Biographical / Historical:
Marvin Harden (1935- ) is an African American painter, printmaker, and educator living and working in California.
Harden received a Master of Fine Arts from the University of California, Los Angeles (UCLA) in 1963. While there, Harden studied under John Paul Jones, Jan Stussy, and William Brice. He also became friends with UCLA classmate and feminist artist, Judy Chicago.
Harden's first solo exhibition was in 1964 at Ceeje Galleries in Los Angeles, California. His drawings, paintings, and prints have been exhibited widely in museums, galleries, and universities in southern California, and also in New Mexico, New York, and Texas, among other locations. Harden has also been the recipient of artists' fellowships awarded by the National Endowment for the Arts, John Simon Guggenheim Memorial Foundation, and Southeastern Center for Contemporary Art.
Harden became a Professor of Art at California State University, Northridge (CSUN) in 1968, and in 1984 he received a Distinguished Teaching Award and Exceptional Merit Service Award. During his career at CSUN, Harden established the art department's graduate teaching assistant program.
Provenance:
The Marvin Harden papers were donated to the Archives of American Art by Marvin Harden in 2005.
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.
