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Octavio Medellin papers

Creator:
Medellin, Octavio, 1907 or 1908-1999  Search this
Names:
Gonzalez, Xavier, 1898-1993  Search this
Mérida, Carlos, 1891-1984  Search this
Extent:
3.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Videorecordings
Date:
circa 1935-circa 1979
Summary:
The papers of Mexican born painter, sculptor, and educator Octavio Medellin measure 3.6 linear feet and date from circa 1935 to circa 1979. The collection is comprised of correspondence with Carlos Mérida, Stanley Marcus, Lucy Maverick, Bess Hubbard, Xavier Gonzalez, and others; commission files for projects in Texas; professional files that include notes, biographical essays, and material for the Medellin School of Sculpture, Mendocino Art Center, International Institute of Arts and Letters, and the San Antonio Religious Show; printed and documentary materials consisting of an art reproduction, booklets, exhibition catalogs, magazines and yearbooks, and video recordings of Swank in the Arts; and photographic materials of Medellin, his studio, family and friends, travel in Mexico, his students, and works of art.
Scope and Contents:
The papers of Mexican born painter, sculptor, and educator Octavio Medellin measure 3.6 linear feet and date from circa 1935 to circa 1979. The collection is comprised of correspondence with Carlos Mérida, Stanley Marcus, Lucy Maverick, Bess Hubbard, Xavier Gonzalez, and others; commission files for projects in Texas; professional files that include notes, biographical essays, and material for the Medellin School of Sculpture, Mendocino Art Center, International Institute of Arts and Letters, and the San Antonio Religious Show; printed and documentary materials consisting of an art reproduction, booklets, exhibition catalogs, magazines and yearbooks, and video recordings of Swank in the Arts; and photographic materials of Medellin, his studio, family and friends, travel in Mexico, his students, and works of art.
Arrangement:
The collection is arranged as five series.

Series 1: Correspondence, 1939-1978 (Box 1; 0.3 linear feet)

Series 2: Commission Files, 1950-1973 (Box 1, OV 6; 0.3 linear feet)

Series 3: Professional Files, circa 1950-circa 1979 (Box 1, OV 5; 0.2 linear feet)

Series 4: Printed and Documentary Materials, 1936-1979 (Boxes 1-2; 1.0 linear feet)

Series 5: Photographic Materials, circa 1935-circa 1979 (Boxes 2-4, OV 5; 1.8 linear feet)
Biographical / Historical:
Octavio Medellin (1907-1999) was a painter, sculptor, and educator in Dallas, Texas. Medellin was born in Matehuala, Mexico to parents of Otomi heritage. His family moved to San Antonio, Texas when he was eight years old and he became a citizen of the U.S. in 1939. Medellin attended the San Antonio Art School with classmate Xavier Gonzalez and studied with José Arpa. He also studied at the Chicago Art Institute for a short time. Medellin returned to Mexico in order to study the arts, culture, and history of the country and was greatly influenced by the Mayan and Toltec ruins and artifacts he saw there. He returned to San Antonio in 1931 where he taught at the Witte Museum. Under the sponsorship of Lucy Maverick, an artist he met at La Villita Art Gallery who was involved in the historic preservation of San Antonio, Medellin returned to Mexico a few years later to visit the Yucatan region of the country. In 1966, Medellin opened the Medellin School of Sculpture that is now the Creative Arts Center of Dallas. He also taught at North Texas State University and the Dallas Museum of Art. He completed numerous commissions in the state of Texas including a monument at Calvary Hill Cemetery, a sculpture for the Houston Police Administration, mosaics and carvings for St. Andrew's Catholic Church and St. Bernard Catholic Church, and decorations for the sanctuary in Temple Emanu-el.

Medellin retired from teaching in 1979 and moved with his wife Consuelo to Bandera, Texas. He and his wife had two children, Patsy and Sergio. Medellin died in Dallas in 1999. He was buried in Calvary Hill Cemetery near his commissioned monument, The Garden of the Glorious Mysteries.
Related Materials:
Additional Octavio Medellin papers are at Syracuse University, Special Collections Research Center, Syracuse, New York, and the Southern Methodist University Bywaters Special Collections at the Hamon Arts Library, Dallas, Texas.
Provenance:
The collection was donated from 1981 to 1983 by Octavio Medellin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual records with no duplicate copies requires advance notice.
Occupation:
Painters -- Texas -- Dallas  Search this
Sculptors -- Texas -- Dallas  Search this
Topic:
Painting, American  Search this
Public sculpture -- Texas -- Dallas  Search this
Latino and Latin American artists  Search this
Genre/Form:
Interviews
Photographs
Videorecordings
Citation:
Octavio Medellin papers, circa 1935-circa 1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.medeocta
See more items in:
Octavio Medellin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-medeocta

Joe Lopez papers and Gallista Gallery records

Creator:
Lopez, Joe, 1945-  Search this
Names:
Gallista Gallery  Search this
Extent:
1.7 Linear feet
32.93 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Scrapbooks
Date:
1966-2016
Summary:
The Joe Lopez papers and Gallista Gallery records measure 1.7 linear feet and 32.93 GB and date from 1966 to 2016. The collection is comprised of biographical records that include interviews with Lopez, autobiographical writings by Lopez and writings by others, printed and digital materials, artwork, and photographic and moving image materials. Records for the Gallista Gallery include trademark files and legal records pertaining to the lawsuit against Lopez by E and J Gallo Winery over the use of the word "gallo."
Scope and Contents:
The Joe Lopez papers and Gallista Gallery records measure 1.7 linear feet and 32.93 GB and date from 1966 to 2016. The collection is comprised of biographical records that include interviews with Lopez, autobiographical writings by Lopez and writings by others, printed and digital materials, artwork, and photographic and moving image materials. Records for the Gallista Gallery include trademark files and legal records pertaining to the lawsuit against Lopez by E and J Gallo Winery over the use of the word "gallo."
Arrangement:
The collection is arranged as six series.

Series 1: Biographical Materials, 1966-2013 (Boxes 1, 3; 6 folders, ER01-ER06; 19.32 GB)

Series 2: Writings, circa 1997-2002 (Box 1; 6 folders)

Series 3: Gallista Gallery Records, 1990-2016 (Boxes 1, 3; 0.8 linear feet, ER07; 7.53 GB)

Series 4: Printed Materials, circa 1975-2015 (Boxes 1-3; 0.4 linear feet)

Series 5: Artwork, circa 1990-2008 (Boxes 2-3; 5 folders)

Series 6: Photographic and Moving Image Materials, circa 1985-circa 2010 (Box 2; 0.2 linear feet, ER08-10; 6.10 GB)
Biographical / Historical:
Joe Lopez (1945- ) is a painter and founder of the Gallista Gallery (1996-2016) in San Antonio, Texas.

Lopez grew up in El Barrio Escondido, a neighborhood in San Antonio. He was introduced to art through his Uncle Basilio, a folk artist. While a student at St. Anthony Shrine School, Lopez gained the attention of one of the nuns which led to a scholarship to attend the Witte Museum Art School. He also attended La Villita School of Art, the San Antonio School of Art, and was awarded a scholarship to McNay Art Museum school. Lopez trained with artists Warren Hunter, John Squire Adams, Finis Collins, and Jesus "Chista" Cantu. Because Lopez was born with one hand, artist Jesse Treviño was an inspiration to Lopez for his ability to paint with one hand.

Lopez's paintings often feature gallos, the Spanish word for roosters, because they symbolize strength and pride in Chicano and Mexican American culture. Lopez opened his own gallery in 1996 because he was having difficulty booking exhibitions at other galleries. The original name of the gallery was Puro Gallo, and he changed the name to Gallista Gallery in 1998. Gallista was coined by Lopez to describe those who supported him during a five year court battle with E and J Gallo Winery. The wine company initiated the lawsuit against Lopez over the use of the word "gallo." The gallery became a bedrock of the community, fostering the talents of local Latino artists long after the lawsuit ended.

Early in his career, Lopez worked in the art department for Dillard's and Centeno's supermarket before becoming employed in the graphics department at Fort Sam Houston, a U.S. Army post in San Antonio. He retired in 2007 from Fort Sam Houston after 22 years.

Lopez's work has been exhibited at the McNay Art Museum, Laguna Gloria Art Museum, and other museums throughout Texas. His paintings have been featured on posters and covers of music albums including Taquachito Nights: Conjunto Music from South Texas produced by Smithsonian Folkways Recordings and Puro Gallo by Los Padrinos.
Provenance:
The Joe Lopez papers and Gallista Gallery records were donated by Joe Lopez in 2016.
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.
Rights:
The donor has retained all intellectual property rights, including copyright, that he or she may own.
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 -- Texas -- San Antonio  Search this
Topic:
Latino and Latin American artists  Search this
Mexican American artists  Search this
Function:
Art galleries, Commercial -- Texas -- San Antonio
Genre/Form:
Interviews
Scrapbooks
Citation:
Joe Lopez papers and Gallista Gallery records, 1966-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lopejoe
See more items in:
Joe Lopez papers and Gallista Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lopejoe

Oral history interview with Benito Huerta, 2004 Feb. 29-Mar. 2

Interviewee:
Huerta, Benito, 1952-  Search this
Interviewer:
Cordova, Cary  Search this
Subject:
Livingston, Jane  Search this
Yanez, Rene  Search this
Pitman, Bonnie  Search this
Hernandez, John  Search this
Zamudio-Taylor, Victor  Search this
Garza, Carmen Lomas  Search this
Vargas, Kathy  Search this
Beardsley, John  Search this
Chin, Mel  Search this
Caton, David  Search this
Lynn Goode Gallery  Search this
Galería de la Raza (San Francisco, Calif.)  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Type:
Sound recordings
Interviews
Topic:
Hispanic American artists  Search this
Curators -- Texas -- Interviews  Search this
Art criticism  Search this
Art commissions  Search this
Painting -- Technique  Search this
Record number:
(DSI-AAA_CollID)12217
(DSI-AAA_SIRISBib)247972
AAA_collcode_huerta04
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_247972
Online Media:

Oral history interview with Jesse Amado, 2004 May 31-June 7

Interviewee:
Amado, Jesse, 1951-  Search this
Interviewer:
Cordova, Cary  Search this
Subject:
Ford, O'Neil  Search this
Mondini-Ruiz, Franco  Search this
Hickey, Dave  Search this
Davis, Barbara  Search this
Casas, Mel  Search this
Reynolds, Steve  Search this
Ramirez, Chuck  Search this
Holland, Rebecca  Search this
Finesilver Gallery  Search this
Contemporary Art for San Antonio (Organization)  Search this
ArtPace (Foundation : San Antonio, Tex.)  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- Texas -- San Antonio -- Interviews  Search this
Hispanic American artists  Search this
Art -- Technique  Search this
Religion in art  Search this
Record number:
(DSI-AAA_CollID)12876
(DSI-AAA_SIRISBib)248017
AAA_collcode_amado04
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_248017
Online Media:

Oral history interview with Benito Huerta

Interviewee:
Huerta, Benito, 1952-  Search this
Interviewer:
Cordova, Cary  Search this
Creator:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Names:
Galería de la Raza (San Francisco, Calif.)  Search this
Lynn Goode Gallery  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Beardsley, John  Search this
Caton, David  Search this
Chin, Mel, 1951-  Search this
Garza, Carmen Lomas  Search this
Hernandez, John, 1952-  Search this
Livingston, Jane  Search this
Pitman, Bonnie  Search this
Vargas, Kathy  Search this
Yanez, Rene  Search this
Zamudio-Taylor, Victor  Search this
Extent:
5 Sound discs (Sound recording, master (5 hrs., 52 min.), digitial, 2 5/8 in.)
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound discs
Pages
Sound recordings
Interviews
Date:
2004 Feb. 29-Mar. 2
Scope and Contents:
An interview of Benito Huerta conducted 2004 Feb. 29-Mar. 2, by Cary Cordova, for the Archives of American Art, in Arlington, Tex.
Huerta speaks of his early childhood; interest in art; attending graduate school at New Mexico State University; the exhibition "Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors," 1987; interest in music and planning programs while attending undergraduate school at the University of Houston; his relationship with artist Mel Chin; his exhibition at the Contemporary Arts Museum, Houston; the Lynn Goode Gallery and an exhibition entitled "Aneurism"; criticism of his artwork; living in San Francisco for two years; Galería de la Raza; painting on black velvet; the exhibition "Chulas Fronteras (Beautiful Borders)" 1986; his chalupas series; the value of curating versus making his own art; "Seen and Unseen" at Diverse Works 1983; "Cowboys, Cadillacs, and Computers" Lawndale Art and Performance Center, University of Houston, 1985; his installation pieces; maps and global images in his work; his co-founding of the art Magazine "Artlies"; public commissions; connections to North Carolina; the Serie project; and the artists he has worked with since arriving at University of Texas, Arlington. Huerta also recalls David Caton, Jane Livingston, John Beardsley, René Yañez, Carmen Lomas Garza, John Hernandez, Kathy Vargas, Victor Zamudio Taylor, Bonnie Pitman, and others.
Biographical / Historical:
Beniton Huerta (1952-) is an artist from Arlington, Tex. Interviewer Cary Cordova (1970-) is an art historian.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Hispanic American artists  Search this
Curators -- Texas -- Interviews  Search this
Art criticism  Search this
Art commissions  Search this
Painting -- Technique  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.huerta04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-huerta04

Oral history interview with Jesse Amado

Interviewee:
Amado, Jesse, 1951-  Search this
Interviewer:
Cordova, Cary  Search this
Creator:
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Names:
ArtPace (Foundation : San Antonio, Tex.)  Search this
Contemporary Art for San Antonio (Organization)  Search this
Finesilver Gallery  Search this
Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this
Casas, Mel, 1929-2014  Search this
Davis, Barbara  Search this
Ford, O'Neil, 1905-  Search this
Hickey, Dave, 1940-  Search this
Holland, Rebecca, 1962-  Search this
Mondini-Ruiz, Franco, 1961-  Search this
Ramirez, Chuck  Search this
Reynolds, Steve  Search this
Extent:
79 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 May 31-June 7
Scope and Contents:
An interview of Jesse Amado conducted 2004 May 31 and June 7, by Cary Cordova, for the Archives of American Art, at the artist's studio, in San Antonio, Texas.
Includes artist's family background, personalities, and relationship of artist's mother and father; parents' occupations and the effect on the family; brother Gilbert; early influences and experiences in drawing; role of religion during childhood; experiences in school including parochial school and losing interest in 12th grade; experiences working with architect O'Neil Ford in high school; decision to go into the Navy; experiences and travels in the Navy; first impressions of New York City; interest in literature and reading on works and life, including T.S. Eliot, "Tom Sawyer," "The Odyssey;" first experiences with foreign film, especially L'Avventura; bilingualism including learning to speak English and it's possible influences on art; work after the Navy on a tanker; travels in Europe; New York City and experiences working and living there; decision to return to San Antonio; starting at San Antonio College and experience of returning to school; first paintings; attempt at teaching; joining the fire department and influences of that job on his art; MFA study at University of Texas, San Antonio; influences of professors including Steve Reynolds, Mel Casas, and Dave Hickey; major influential discussion with Dave Hickey and art that resulted; BFA show exhibition; beginnings of ideas of fragility and mutability in early pieces; relationship to Minimalism or Conceptual Art in works; the growing art scene in San Antonio and it's galleries, including FineSilver, Blue Star and Art Pace; relationships with other San Antonio artists including Franco Mondini, Chuck Ramirez, Rebecca Holland; discussion of Bemis Foundation show; artist's feelings on being a Latino or Chicano artist; possible Latino influences on his art; discussion of Latino culture and iconography; change from stronger tendencies in painting towards sculpture and installation pieces; discussion of works in the "Taking Liberties" exhibition [1992]; the artist's creation process; discussion of Antonioni's L'Avventura and its use in artist's work; use of text as a visual form; importance of backstory and context to artist's work; use of music and lyrics in work, including James Brown and the Beatles; interest in taglines and its use in art; interest in fashion especially fashion magazines and its use in art; introduction and use of DYMO tape in art; relationship and interactions with galleries and museums, especially the Whitney, Blue Star, FineSilver; Barbara Davis; use of digital photography in work; discussion of the economics of the gallery; the future of artist's work and the importance of the process for the artist in the future; role of Catholicism in artist's work; the exhibition "Renascence" at the Contemporary Arts Museum in Houston; influence of marriage and divorce on works.
Biographical / Historical:
Jesse Amadao (1951-) is an artist in San Antonio, Texas. Cary Cordoza (1970-) is an art historian.
General:
Originally recorded on 7 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 45 minutes.
Interview recorded on mini discs and compact discs.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- Texas -- San Antonio  Search this
Topic:
Painters -- Texas -- San Antonio -- Interviews  Search this
Hispanic American artists  Search this
Art -- Technique  Search this
Religion in art  Search this
Function:
Art galleries, Commercial -- Texas -- San Antonio
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.amado04
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-amado04

Woody Gwyn papers, 1965-1984

Creator:
Gwyn, Woody, 1944-  Search this
Topic:
Painting, Modern -- 20th century -- New Mexico  Search this
Record number:
(DSI-AAA_CollID)10063
(DSI-AAA_SIRISBib)212925
AAA_collcode_gwynwood
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212925

Robert L. Levers papers, 1979-1984

Creator:
Levers, Robert L., 1930-1992  Search this
Type:
Video recordings
Topic:
Painting, American -- Texas -- Austin  Search this
Record number:
(DSI-AAA_CollID)10103
(DSI-AAA_SIRISBib)212985
AAA_collcode_leverobe
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212985

Margaret Webb Dreyer papers, [ca. 1948-1979]

Creator:
Dreyer, Margaret Webb, 1911-1976  Search this
Subject:
Dreyer Galleries (Houston, Tex.)  Search this
Topic:
Women painters  Search this
Record number:
(DSI-AAA_CollID)7077
(DSI-AAA_SIRISBib)209210
AAA_collcode_dreymarg
Theme:
Women
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209210

Ted Egri papers, [ca. 1920-1980]

Creator:
Egri, Ted, 1913-2010  Search this
Topic:
Painting, Modern -- 20th century -- New Mexico -- Taos  Search this
Sculpture, Modern -- 20th century -- New Mexico -- Taos  Search this
Record number:
(DSI-AAA_CollID)10515
(DSI-AAA_SIRISBib)213945
AAA_collcode_egrited
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213945

Billy Al Bengston papers

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:

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 galleries, Commercial  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.
Identifier:
AAA.bengbill
See more items in:
Billy Al Bengston papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bengbill

Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California  Search this
Art critics -- California -- San Francisco  Search this
Topic:
Authors -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buttjan

Jerry Bywaters papers

Creator:
Bywaters, Jerry  Search this
Names:
Dallas Art Association  Search this
Dallas Museum of Fine Arts  Search this
Albright, Ivan, 1897-1983  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Bellows, Emma Louise Story  Search this
Benton, Thomas Hart, 1889-1975  Search this
Canaday, John, 1907-1985  Search this
Cisneros, José, 1910-  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
Dobie, J. Frank (James Frank), 1888-1964  Search this
Goodrich, Lloyd, 1897-1987  Search this
Hertzog, Carl  Search this
Hurd, Peter, 1904-1984  Search this
Kimball, Fiske, 1888-1955  Search this
Lea, Tom, 1907-  Search this
Mayor, A. Hyatt (Alpheus Hyatt), 1901-1980  Search this
Nicholson, Ben, 1894-  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Wyeth, Andrew, 1917-2009  Search this
Zorach, William, 1887-1966  Search this
Interviewee:
Cullinan, Nina J., 1896 or 9-1983  Search this
Staub, John F., 1892-  Search this
Extent:
1 Linear foot ((on 6 microfilm reels))
3 Photographic prints (Unmicrofilmed, b&w, 8 x 10 in and smaller.)
Type:
Collection descriptions
Archival materials
Photographic prints
Sound recordings
Interviews
Date:
[ca. 1900-1979]
Scope and Contents:
Personal papers, mainly correspondence, as well as files on Texas art and artists compiled by Bywaters.
REELS 1512-1513: Correspondence, ca. 1950-1979, with artists, museum personnel, writers, and others; biographical data; a 20 p. transcript of an interview of Bywaters by Marla Redelsperger, October 3, 1975; a 2 part "Autobiographical Sketch With Slides of Works" delivered June 18, 1975, in Dallas; a monograph by Bywaters, ART MUSEUMS: REPOSITORIES OR CREATIVE CENTERS; exhibition catalogs of the Dallas Museum of Fine Arts; printed material about Bywaters; a personal photograph and photos of his works. Among the correspondents are Ivan Le Lorraine Albright, Alfred Barr, Mrs. George Bellows, Thomas Hart Benton, John Canaday, Jose Cisneros, René d'Harnacourt, J. Frank Dobie, Lloyd Goodrich, Carl Hertzog, Peter Hurd, Fiske Kimball, Tom Lea, A. Hyatt Mayor, Ben Nicholson, Georgia O'Keeffe, Andrew Wyeth, and William Zorach.
REELS 1648-1649: Files on 55 Texas artists, containing biographical material, photographs, and catalogs. The files were the result of Bywaters' solicitation of information as director of the Dallas Museum of Fine Arts and as a field worker for the Archives of American Art's Texas Documentation Pilot Project. Artists include: Jose Arpa, Henri Bert Bartscht, Keveau Bassett, John Biggers, Son Bradley, Milesio Casas, Cecil Long Casebier, Pat Colville, Ben L. Culwell, George Dahl, Otis Dozier, Edward G. Eisenlohr, Philip Hohn Evett, Xavier Gonzales, Wilfred Higgons, Dorothy Hood, DeForrest Judd, Chapman Kelly, Edmund D. Kinzinger, Tom Lea, Amy Freeman Lee, William Lester, Jim Love, Keith McIntyre, David McManaway, Octavio Medellin, Perry Nichols, Eleanor Onderdonk, Julian Onderdonk, Robert J. Onderdonk, Robert Preusser, Stephen T. Rascoe, Frank Reaugh, William Reily, Herbert Rogalla, E. M. Schiwetz, Lawrence Scholder, Vera Simons, Everett Spruce, Tom Stell, Robert Tiemann, Allie Tennant, Chester Toney, Olin H. Travis, Charles Unlauf, Wilbert Verhelst, Donald Vogel, Donald Weismann, Ralph White, Charles T. Williams, Bill Wiman, Dan Wingren, and Roger Winter.
REELS 3752-3753: Transcripts of oral history interviews with art patron Nina Cullinan (17 p.; reel 3752), and architect John F. Staub (31 p.; reel 3753), both conducted by Susan Bodin October 23, 1975. [Original cassette tapes are with the collection: Cullinan (1); Staub (2).
UNMICROFILMED: Three photographs relating to Bywaters' book Seventy-Five Years of Art in Dallas," 1978. One taken by Rogers, ca. 1918, is annotated "early art patron, Dallas," is of a woman inspecting possible purchases. Two taken by C.E. Arnold show the Dallas Fine Arts Building (destroyed in 1957) exterior, and an interior view, 1920, showing the Dallas Art Association permanent collection.
Biographical / Historical:
Painter, art historian, and museum director; Dallas, Texas. Director of the Dallas Museum of Fine Arts. Born 1906. Died 1989.
Provenance:
Donated 1979 by Jerry Bywaters except for the correspondence on reel 1512, which he lent for microfilming. Microfilmed as part of the Archives of American Art's Texas project. Three photographs were inadvertently not microfilmed.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Artists -- Texas  Search this
Museum directors -- Texas -- Dallas  Search this
Painters -- Texas -- Dallas  Search this
Topic:
Painting, American  Search this
Art patrons -- Texas -- Interviews  Search this
Architects -- Texas -- Interviews  Search this
Function:
Art museums -- Texas -- Dallas
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bywajerr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bywajerr

Robert Delford Brown papers

Creator:
Brown, Robert Delford  Search this
Names:
Amaya, Mario  Search this
Oldenburg, Claes, 1929- -- Photographs  Search this
Extent:
3.9 Linear feet
7.98 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Vhs (videotape format)
Diaries
Transcripts
Interviews
Video recordings
Scrapbooks
Photographs
Date:
1964-2009
Summary:
The papers of painter, sculptor, and performance artist Robert Delford Brown measure 3.9 linear feet and 7.98 GB and date from 1964-2009. The papers document his career as an artist and in particular the arts space "church" he founded in New York City, known as The First National Church of Exquisite Panic, Inc. The collection consists of biographical material, correspondence, church records, printed and digital material, photographic material, and video records of performance art. Brown's early career is documented in one scrapbook containing photographs, notes, press materials, and select artwork and documentation of ephemeral and performance artworks.
Scope and Content Note:
The papers of painter, sculptor, and performance artist Robert Delford Brown measure 3.9 linear feet and 7.98 GB and date from 1964-2009. The papers document his career as an artist and in particular the arts space "church" he founded in New York City, known as The First National Church of Exquisite Panic, Inc. The collection consists of biographical material, correspondence, church records, printed and digital material, photographic material, and video records of performance art. Brown's early career is documented in one scrapbook containing photographs, notes, and press materials.

Biographical material includes a career summary, one diary, one interview transcript, and two interview recordings on videocassette. Correspondence is minimal and includes four letters written by Brown and letters and postcards from others. Printed material consists mostly of books and event announcements documenting Brown's career. Photographs depict his travels in Brazil and China, artwork, and a collaborative event in Paris. Video recordings depict a solo performance art piece and three collaborative performance art events.

Records of the First National Church of Exquisite Panic, Inc. include items produced for events, such as graphics, a t-shirt, "teachings," as well as reproductions of artwork created as part of the church. Also included are founding documents and manifestos.

One scrapbook contains detailed documentation on Brown's career from 1964 to 1974. Included are photographs and press materials for his "Meat Show" event, additional records of the founding of his church, and photographs of various events and happenings at his church. People depicted in the photographs include Brown, Claes Oldenburg, and art critic Mario Amaya, among others.

Artwork includes works on paper incorporating stamps and text from around 2002 to 2008, as well as artwork documentation for ephemeral and performance artworks including Originale (1964), Out of Order Please Use Toilet Down the Hall Across the Lobby (1965), Free Striptease with Drum and Bugle Corps Accompaniment (1966), The Great Building Crack-Up (1967), Mr. Jesus Christ Contest (1972), Turd Forest (1972), and others.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1992-2009 (Box 1, 5; 0.7 linear feet, ER01; 2.23 GB)

Series 2: Correspondence, 1970-2009 (Box 1; 4 folders)

Series 3: First National Church of Exquisite Panic, Inc. Records, 1968-2000s (Box 1, 4, 5; 0.7 linear feet)

Series 4: Printed Material, 1964-2008 (Box 1-2; 0.4 linear feet)

Series 5: Photographic Material, 1965-2009 (Box 2-3; 1.1 linear feet, ER02; 0.785 GB)

Series 6: Video Recordings of Performance Art, 1994-2005 (Box 3; 0.4 linear feet, ER03-ER05; 4.96 GB)

Series 7: Scrapbook, 1964-1974 (Box 5; 4 folders)

Series 8: Artwork, circa 1965-2008 (Oversize 6-7)
Biographical Note:
Robert Delford Brown (1930-2009) was a painter, sculptor, and performance artist practicing in New York City, N.Y. Brown was a participant in many art happenings in New York during the 1960s and frequently performed in the persona of a religious leader and founder of his own religion and church, The First National Church of the Exquisite Panic, Inc. which functioned as a community arts space.

Brown was born in Portland, Colorado. His family later moved to Long Beach, California, and he recived bachelor's and master's degrees at University of California, Los Angeles. He began his career as a Surrealist and Abstract Expressionist painter, and in 1959 moved to New York City. In 1963 he married Rhett Cone. While visiting Paris he met the artist Allan Kaprow who encouraged him to participate in a 1964 performance of Karlheinz Stockhausen's "Originale." This performance served as the inspiration for founding The First National Church of Exquisite Panic, Inc. That same year Brown also gained media attention for his "Meat Show," an installation of raw meat which he created in a refrigerated room at the Washington Meat Market in New York City.

In 1967 Brown selected a former New York City branch library as a home for his church and hired Modernist architect Paul Rudolph to redesign the interior. He called the space "The Great Building Crack-Up" and lived there until 1997, hosting art exhibitions, happenings, and preaching his philosophy known as Pharblongence. During Brown's later career he organized many participatory art events, such as "Collaborative Action Gluings." He moved to Houston, Texas in 1997 and later moved to Wilmington, North Carolina, in preparation for a solo exhibition at the Cameron Art Museum in 2008. Robert Delford Brown died in 2009.
Provenance:
Donated in 2010 and 2018 by Lynda Roscoe Hartigan who purchased the collection at auction.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Performance artists -- New York (State) -- New York  Search this
Genre/Form:
VHS (videotape format)
Diaries
Transcripts
Interviews
Video recordings
Scrapbooks
Photographs
Citation:
Robert Delford Brown papers, 1964-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.browrober
See more items in:
Robert Delford Brown papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-browrober

Trudy Sween papers

Creator:
Sween, Trudy  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1965-1983
Scope and Contents:
A resume; a graduation program, 1967; 6 letters, 1967-1981; clippings; exhibition announcements and catalogs; theater announcements and programs, 1974-1982, illustrated by Sween; press releases; posters, undated and 1976-1977, designed by Sween; 5 sketches, undated and 1975-1977; an award medal, "Main Street '75 Commemorative Medallion" designed by Sween; a transcript of an interview, undated, conducted by Anita Davidson; poems written by Sween, 1975-1980; booklets of poems illustrated by Sween, 1965-1967; programs for theater productions, 1973-1980, containing credits for Sween; and photographs, undated, 1971-1983, of Sween, her work, and art related events.
Biographical / Historical:
Painter; Houston, Texas.
Provenance:
Lent for microfilming and portions donated 1982-1983 by Trudy Sween.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Texas -- Houston  Search this
Topic:
Women painters -- Texas -- Houston  Search this
Identifier:
AAA.sweetrud
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sweetrud

Oral history interview with Ruth Pershing Uhler

Interviewee:
Uhler, Ruth Pershing, 1898-1969  Search this
Interviewer:
Loomis, Sylvia Glidden  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Index of American Design  Search this
Museum of Fine Arts, Houston  Search this
New Deal and the Arts Oral History Project  Search this
Public Works of Art Project (Tex.)  Search this
Extent:
11 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Date:
1965 May 11
Scope and Contents:
An interview of Ruth Pershing Uhler conducted 1965 May 11, by Sylvia Loomis, for the Archives of American Art.
Uhler speaks of her background and education; becoming involved with the Public Works of Art Project working on a mural project for the public library in Houston; going to work for the Museum of Fine Arts; the history of the Museum; the growth of its collection; the Index of American Design; the importance of the Museum of Fine Arts to the community.
Biographical / Historical:
Ruth Pershing Uhler (1898-1969) was a painter, mural painter, and art administrator from Houston, Texas.
General:
Interview of Victor Alessandro is also on this tape.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Use requires an appointment.
Topic:
Federal aid to the arts  Search this
Mural painting and decoration -- Texas  Search this
Arts administrators -- Texas -- Houston -- Interviews  Search this
Muralists -- Texas -- Houston -- Interviews  Search this
Painters -- Texas -- Houston -- Interviews  Search this
Women artists  Search this
Genre/Form:
Interviews
Identifier:
AAA.uhler65
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-uhler65

Oral history interview with Alvin S. Romansky

Interviewee:
Romansky, Alvin S., 1907-1994  Search this
Interviewer:
Levy, Sandra Curtis  Search this
Names:
Contemporary Arts Association (Houston, Tex.)  Search this
Blaffer family  Search this
Calder, Alexander, 1898-1976  Search this
Cullinan, Nina J., 1896 or 9-1983  Search this
Hayter, Stanley William, 1901-1988  Search this
Menil, Dominique de  Search this
Menil, John de  Search this
Schiwetz, Edward Muegge, 1898-  Search this
Extent:
234 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1979 September 17
Scope and Contents:
An interview of Alvin S. Romansky conducted 1979 September 17, by Sandra Curtis Levy, for the Archives of American Art.
Romansky speaks of his history as a painter, ceramist, and collector; the art scene in Houston as he knew it; his political and law activities; artists and collectors who were his friends and associates; the Contemporary Arts Association; his European experiences; his personal philosophies; and the future of museums. He recalls the Blaffer family, Alexander Calder, Nina Cullinan, and John and Dominique de Menil; William Hayter and Buck Schiwetz.
Biographical / Historical:
Alvin S. Romansky (1907-1994) was a painter, ceramist, and collector of Houston, Tex.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 11 digital wav files. Duration is 6 hr., 43 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
Patrons must use transcript.
Topic:
Art, American -- Texas -- Houston  Search this
Ceramicists -- Texas -- Houston -- Interviews  Search this
Collectors -- Texas -- Houston -- Interviews  Search this
Painters -- Texas -- Houston -- Interviews  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.romans79
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-romans79

Oral history interview with Robert O. Preusser

Interviewee:
Preusser, Robert O. (Robert Ormerod), 1919-1992  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Art Center School (Los Angeles, Calif.)  Search this
Boris Mirski Gallery (Boston, Mass.)  Search this
Center for Advanced Visual Studies  Search this
Downtown Gallery (New York, N.Y.)  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Institute of Design (Chicago, Ill.)  Search this
Joan Peterson Gallery  Search this
Massachusetts Institute of Technology  Search this
Museum of Fine Arts, Boston. School  Search this
Newcomb College. School of Art  Search this
University of Houston  Search this
Davidson, Ola McNeill  Search this
Kepes, Gyorgy, 1906-2001  Search this
White, Minor  Search this
Extent:
106 Pages (Transcipt)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1991 January-October
Scope and Contents:
An interview of Robert O. Preusser conducted 1991 January-October, by Robert F. Brown, for the Archives of American Art.
Preusser discusses the establishment of an art department at the Massachusetts Institute of Technology and his involvement with it first as a visiting lecturer and then as a professor of visual design. He speaks often of Gyorgy Kepes, whom he had known at the Institute of Design, Chicago, in the early 1940s, and who recruited him to M.I.T; he also discusses other faculty members, like Minor White, professor of photography. He gives attention to his courses at M.I.T., 1954-1985; early computer design projects by students; his writings on the importance of visual arts to technology; and his supervision of educational programs at M.I.T.'s Center for Advanced Visual Studies, 1974-85. An extensive part of the interview is held in an exhibition of Preusser's work at the M.I.T. Museum (April 4, 1991), discussing in particular his incorporation of various plastic and metallic materials in his works from the 1960s and 1970s. He speaks as well of the importance of his inclusion in group exhibitions at the Downtown Gallery, New York, ("Newcomers," 1951, and "Recent Arrivals, 1952) and the Institute of Contemporary Art, Boston ("Collectors Exhibition," 1954), and of his exhibitions at the Boris Mirski Gallery and the Joan Peterson Gallery, Boston, during the 1950s and 1960s, and at various galleries in Houston during the 1980s. Other topics of discussion are his early art instruction in his native Houston, Texas, by the painter Ola McNeill Davidson, 1930-39; further training in painting and design at the Institute of Design, Chicago, 1930-39, 1941-42; Newcomb School of Art at Tulane University, 1940-41; service with a camouflage unit in the U.S. Army, 1942-45; classes at the Art Center School, Los Angeles, 1946-47; his teaching at the School of the Museum of Fine Arts, Houston, 1947-54, and at the University of Houston, 1951-54, and his role as co-director of the Houston Contemporary Arts Association, 1948-50.
Biographical / Historical:
Robert Preusser (1919-1992) was a painter and art instructor from Houston, Texas and Cambridge, Massachusetts.
General:
Poor sound quality. The first 35 minutes of the interview have been lost.
Originally recorded on 1 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 4 hr., 18 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Art -- Study and teaching -- Massachusetts  Search this
Art -- Study and teaching -- Texas -- Houston  Search this
Camouflage (Military science)  Search this
Painters -- Massachusetts -- Interviews  Search this
Painters -- Texas -- Houston -- Interviews  Search this
Painting -- Study and teaching  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.preuss91
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-preuss91

Andy Nasisse files relating to self-taught artists

Creator:
Nasisse, Andy S., 1946-  Search this
Names:
Bailey, E. M. (Eldren M.)  Search this
Carpenter, Miles B. (Miles Burkholder), 1889-  Search this
Carroll, Tessie  Search this
Damonte, Emanuel "Litto", d. 1985  Search this
Dinsmoor, Samuel Perry, 1843-1932  Search this
Doyle, Sam, 1906-1985  Search this
Ehn, John Henry, 1896-1981  Search this
Finster, Howard, 1916-2001  Search this
Forester, Laura Pope, 1873-1953  Search this
Hall, Dilmus, 1900-1987  Search this
Hall, Irene Gibson, ca. 1895-1983  Search this
Harvey, Bessie, 1929-  Search this
McKissack, Jeff, 1902-1980  Search this
Milkovitch, John, 1912-1988  Search this
Murry, J. B. (John B.), 1908-1988 (John B.)  Search this
Prisbrey, Tressa  Search this
Pugh, Dow, 1906-  Search this
Ratcliffe, W. T., 1882-1956  Search this
Rice, William Carlton, 1930-2004  Search this
Robertson, Royal  Search this
St. EOM, 1908-1986  Search this
Thomas, Son, 1926-1993  Search this
Tolliver, Mose, 1920-  Search this
Van Zant, Frank, 1911-1989  Search this
Zoetl, Joseph, 1878-1961  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Video recordings
Date:
circa 1979-circa 1986
Summary:
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.
Occupation:
Educators -- Georgia  Search this
Folk artists  Search this
Ceramicists -- Georgia  Search this
Potters -- Georgia  Search this
Topic:
Self-taught artists  Search this
African American artists  Search this
Genre/Form:
Sound recordings
Video recordings
Citation:
Andy Nasisse files relating to self-taught artists, circa 1979-circa 1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nasiandy
See more items in:
Andy Nasisse files relating to self-taught artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nasiandy

Oral history interview with Robert C. Joy

Interviewee:
Joy, Robert, 1910-1993  Search this
Interviewer:
Levy, Sandra Curtis  Search this
Extent:
1 Item (sound file Sound recording, digital, wav file)
31 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1979 May 4
Scope and Contents:
An interview with Robert C. Joy conducted 1979 May 4, by Sandra Curtis Levy, for the Archives of American Art. Joy discusses his personal history, his childhood, education, influences on his art and his personal philosophy.
Biographical / Historical:
Robert C. Joy (1910-1993) was a portrait painter from Houston, Tex.
General:
An interview of Charles Fleetwood (3/28/79) conducted by S. Curtis is also on this tape.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Portrait painters -- Texas -- Interviews  Search this
Topic:
Art, American  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.joy79
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-joy79

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