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Oral history interview with Joan Snyder

Interviewee:
Snyder, Joan, 1940-  Search this
Interviewer:
Richards, Judith Olch  Search this
Names:
Bykert Gallery (New York, N.Y.)  Search this
Hirschl & Adler Galleries  Search this
Parsons School of Design -- Faculty  Search this
Rutgers University -- Students  Search this
School of Visual Arts (New York, N.Y.) -- Faculty  Search this
Women Against War  Search this
Cammer, Maggie  Search this
Fink, Larry  Search this
Lippard, Lucy R.  Search this
Snyder-Fink, Molly  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
6 Items (Sound recording: 6 sound files (5 hr., 18 min.), digital, wav)
91 Pages (Transcript)
6 Items (Sound recording: 6 sound files (5 hr., 18 min.), digital, wav)
91 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 February 25-26
2010 February 25-26
Scope and Contents:
An interview of Joan Snyder conducted 2010 February 25-26, by Judith Olch Richards, for the Archives of American Art, at Snyder's home and studio in Brooklyn, New York.
Snyder speaks of her childhood and education, growing up in a Jewish household in Brooklyn; education at Douglass College at Rutgers University, New Jersey; work with anti-poverty programs; her involvement in the wave of feminism, WAC (Women Art Collective), and Women Against War; Snyder's work on the magazine "Heresies: A Feminist Publication on Art and Politics"; relationship with ex-husband, photographer Larry Fink; Snyder's important early showing at Bykert Gallery and Hirschl & Adler; the works Small Symphony for Women (1974), Resurrection (1977), Love's Pale Grapes (1982), Apple Tree Mass (1983), Beanfield with Music for Molly (1984), Savage Dreams, (1981-82), Women in Camps (1988), Morning Requiem for the Children (1987-88), Faces, Journey of the Souls (1993), Cherry Tree (1993), and her work into the 21st century; themes in her work that refer to the AIDS crisis, the treatment of women and female sensibility, lives of children, and religion; recipient of the MacArthur Fellowship in 2007; her teaching experience at Parsons and School of Visual Art (SVA). Snyder also recalls Ulfred Wilke, Lucy Lippard, and various individuals associated with the Feminist/women's movement, daughter Molly Snyder-Fink, and partner Maggie Cammer.
Biographical / Historical:
Joan Snyder (1940- ) is an abstract artist in Brooklyn, New York. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York.
General:
Originally recorded on 6 memory cards. Reformatted in 2010 as 6 digital wav files. Duration is 5 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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
AIDS (Disease) and the arts  Search this
Art, Abstract  Search this
Feminism  Search this
Feminism and art  Search this
Poverty  Search this
Social justice  Search this
Artists (LGBTQ)  Search this
Lesbian artists  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.snyder10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-snyder10
Online Media:

Oral history interview with Joel Philip Myers, 2007 May 1

Interviewee:
Myers, Joel Philip, 1934-  Search this
Myers, Joel Philip, 1934-  Search this
Interviewer:
Klein, Daniel, 1938-2009  Search this
Subject:
Blenko, William H.  Search this
Dreisbach, Fritz  Search this
Huchthausen, David R. (David Richard)  Search this
Lewis, John  Search this
Lipofsky, Marvin  Search this
Littleton, Harvey K.  Search this
Marquis, Richard  Search this
Ness, Bob  Search this
Popelka, John  Search this
Randall, Theodore  Search this
Smith, Paul J.  Search this
Vallien, Bertil  Search this
Alfred University  Search this
Blenko Glass Company  Search this
Donald Deskey Associates  Search this
Mint Museum of Art  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Parsons School of Design  Search this
Pilchuck Glass Center (Stanwood, Wash.)  Search this
Toledo Art Museum  Search this
University of California, Berkeley  Search this
University of Illinois.  Search this
World Crafts Council  Search this
Type:
Interviews
Sound recordings
Place:
Japan -- Description and Travel
Topic:
Craft Horizons  Search this
Art -- Study and teaching -- Philosophy  Search this
Ceramics -- Design  Search this
Ceramics -- Study and teaching -- Denmark  Search this
Decorative arts  Search this
Glass blowing and working -- Study and teaching  Search this
World War, 1914-1918  Search this
Theme:
Craft  Search this
Record number:
(DSI-AAA_CollID)13605
(DSI-AAA_SIRISBib)270854
AAA_collcode_myers07
Theme:
Craft
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_270854
Online Media:

Oral history interview with Victoria Barr, 1977 January 11-February 18

Interviewee:
Barr, Victoria, 1937-  Search this
Barr, Victoria, 1937-  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)12929
(DSI-AAA_SIRISBib)212530
AAA_collcode_barr77
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212530
Online Media:

Oral history interview with Joel Philip Myers

Topic:
Craft Horizons
Interviewee:
Myers, Joel Philip, 1934-  Search this
Interviewer:
Klein, Daniel, 1938-2009  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Alfred University -- Students  Search this
Blenko Glass Company  Search this
Donald Deskey Associates  Search this
Mint Museum of Art  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Parsons School of Design -- Students  Search this
Pilchuck Glass Center (Stanwood, Wash.) -- Faculty  Search this
Toledo Art Museum  Search this
University of California, Berkeley -- Students  Search this
University of Illinois. -- Faculty  Search this
World Crafts Council  Search this
Blenko, William H., 1921-2016  Search this
Dreisbach, Fritz  Search this
Huchthausen, David R. (David Richard), 1951-  Search this
Lewis, John, 1942-  Search this
Lipofsky, Marvin, 1938-2016  Search this
Littleton, Harvey K.  Search this
Marquis, Richard, 1945-  Search this
Ness, Bob  Search this
Popelka, John  Search this
Randall, Theodore, 1914-1985  Search this
Smith, Paul J., 1931-  Search this
Vallien, Bertil, 1938-  Search this
Extent:
6 Items (Sound recording: 6 sound files (4 hr., 15 min.), digital, wav)
63 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Japan -- Description and Travel
Date:
2007 May 1
Scope and Contents:
An interview of Joel Philip Myers conducted 2007 May 1, by Daniel Klein, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the artist's home, in Marietta, Pennsylvania.
Myers speaks of his childhood in Patterson, New Jersey; making charcoal drawings as a child and taking private courses in oil painting; choosing to pursue a career in advertising design; attending Parsons School of Design in New York City; working as a package designer for Donald Deskey Associates; being influenced by Scandinavian design he saw in New York City to study abroad in Denmark; studying ceramic design at Kunsthaandvaerkerskolen in Copenhagen; meeting and marrying his wife, Birthe, while in Copenhagen; returning to the United States and going back to work for Donald Deskey; attending Alfred University and receiving his B.F.A. and M.F.A. in ceramics; accepting the position director of design for Blenko Glass Company in Milton, West Virginia with no previous experience in glass; teaching himself how to blow glass in the factory alongside the workers; the intense heat and extreme noise of a glass factory; learning of Harvey Littleton's glass workshop in 1962 in Toledo, Ohio, but being unable to attend; having limited exposure to the glass movement and developing his glass art without knowledge of the work of Littleton and his students; designing 50 to 60 different vases, bowls, decanters, and decorative objects a year from 1963 - 1970 at Blenko Glass Company; creating sculptural glass forms in his penetration pieces for his masters thesis; learning of what was happening in the studio glass world by attending the World Craft Council in 1964 in New York City; Paul Smith discovering his work and thereby gaining some publicity in Craft Horizons; being invited by Littleton to give a workshop at the University of California, Berkeley in 1968; the initial shock of seeing glass sculpture made with no real technique; his early attraction to cold-work in order to work intimately with the surface of the glass; acquisition of his work by the Toledo Art Museum and the Mint Museum of Art in Charlotte, North Carolina; establishing a glass program at Illinois University in Bloomington-Normal; his attempts to recruit international students; taking a semester sabbatical in Baden, Austria; being heavily influenced by the natural world; the series Garden, Perfume Bottle, Contiguous Fragment, Dr. Zharkov, The Dialogues, and others; teaching at Pilchuck School of Glass; studying the First World War and consequently creating Musée des Beaux Arts [1996]; travels to Japan; his teaching philosophies; the prevalence of independent glass studios in the world today; and plans for the future. Myers recalls Ted Randall, William H. Blenko, Sr., William H. Blenko, Jr., Marvin Lipofsky, Fritz Dreisbach, Richard Marquis, John Lewis, Bob Ness, Bertil Vallien, David Huchthausen, John Popelka, and others.
Biographical / Historical:
Joel Philip Myers (1934- ) is a glass artist from Milton, West Virginia. Daniel Klein (1938- ) is an art consultant from London, England.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 4 hr., 15 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.
Occupation:
Glass artists -- Pennsylvania  Search this
Topic:
Art -- Study and teaching -- Philosophy  Search this
Ceramics -- Design  Search this
Ceramics -- Study and teaching -- Denmark  Search this
Decorative arts  Search this
Glass blowing and working -- Study and teaching  Search this
World War, 1914-1918  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.myers07
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-myers07
Online Media:

Oral history interview with Lisa Gralnick

Interviewee:
Gralnick, Lisa, 1956-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Kent State University -- Faculty  Search this
Kent State University -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Parsons School of Design  Search this
Kounellis, Jannis, 1936-2017  Search this
Lightman, Alan  Search this
Matzdorf, Gary Bengier  Search this
Mimlitsch-Gray, Myra  Search this
Scherr, Mary Ann, 1931-  Search this
Extent:
12 Items (Sound recording: 12 sound files (7 hr., 4 min.), digital, wav)
111 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2007 October 29-30
Scope and Contents:
An interview of Lisa Gralnick conducted 2007 October 29-30, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Gralnik's home, in Madison, Wisconsin.
Gralnick speaks of her father's illness; taking a jewelry-making class as a teenager; the honors college at Kent State; her master's thesis and the Cosmogonic Cycle; teaching enameling at Kent State to support her studio art; the metals program at Parsons School of Design; a black rubber house in upstate New York; creating structures out of black plastic; her introduction to computers; working with gold; drawing inspiration from physics and machinery; her fascination with dentistry tools; being a hands-on learner; satisfaction from the labor of art; working with metal; her methodological form of teaching; teaching a graduate class and focusing on body parts; the relationship between ambition and hard work; teaching in an art department as opposed to a craft department; her recent reliquary and jewelry work; poetic and musical influences; showing abstraction and emotion in her work; the creation of The Gold Standard pieces. Gralnick also recalls Mary Ann Scherr, Gary Bengier Matzdorf, Jannis Kounellis, Alan Lightman, Myra Mimlitsch Gray, and others.
Biographical / Historical:
Lisa Gralnick (1956- ) is a metalsmith and professor from Madison, Wisconsin. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 12 digital wav files. Duration is 7 hr., 4 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.
Occupation:
Educators  Search this
Topic:
Decorative arts  Search this
Jewelry making -- Study and teaching  Search this
Metal-work -- Study and teaching  Search this
Metal-workers -- Wisconsin -- Interviews  Search this
Women artists  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.gralni07
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gralni07
Online Media:

Oral history interview with Ilse Bischoff

Interviewee:
Bischoff, Ilse, 1901-1990  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
Parsons School of Design -- Students  Search this
Cadmus, Paul, 1904-1999  Search this
French, Jared, 1905-1988  Search this
Read, Helen Appleton, 1897-1974  Search this
Zorach, William, 1887-1966  Search this
Extent:
26 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1982 January 27
Scope and Contents:
An interview of Ilse Bischoff conducted 1982 January 27, by Robert F. Brown, for the Archives of American Art.
Bischoff speaks of her upbringing in a wealthy German family in New York; her study of costume design in Paris and at the Parsons School of Design, New York City; her training at the Art Students League, and with William Zorach. She recalls her friendships with Helen Appleton Read, Paul Cadmus and Jared French.
Biographical / Historical:
Ilse Bischoff (1901-1990) was an illustrator, painter, and collector. Birthdate also cited as 1903. Full name Ilse Marthe Bischoff. Born in New York City, Bischoff studied at the Art Students League and in Europe. Later, she worked as an illustrator of childrens' books and collected German porcelain.
General:
Originally recorded 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 56 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Vermont -- Interviews  Search this
Topic:
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bischo82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bischo82
Online Media:

Oral history interview with Victoria Barr

Interviewee:
Barr, Victoria  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
222 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1977 January 11-February 18
Scope and Contents:
An interview of Victoria Barr conducted 1977 January 11-February 18, by Paul Cummings, for the Archives of American Art.
Barr recalls how she became very interested in theater set and lighting design; the thrill of learning about Greek history and myths and her painting being influenced by dance; studying graphic design and advertising at Parsons School of Design and Cy Sillman as a teacher; at Yale, Neil Welliver influencing her to become a painter; her first trip to Europe with her parents at the age of 14 and spending time with Pablo Picasso, Marc Chagall, and Henri Matisse; fellow Yale students Victor Moscoso, Eva Hesse, Sylvia Mangold, Bob Mangold, and Louise Nevelson; moving to Aspen, Colorado in 1961 and how her brief experience with marijuana influenced her painting more than anything previously; the family friendship with Philip Johnson and building the Glass House in New Canaan, Connecticut; spending time with Johnson, Meis van der Rohe and Phyllis Lambert during the construction of the Seagram Building in Montreal, Canada; Vincent Scully and Bill McDonald as teachers at Yale; visiting Peggy Guggenheim in Venice; going to Budapest, Hungary 1963, right after the Cuban Missile Crisis, to make a film; being awarded the Fulbright to go to France in 1964; her trip to Greece on scholarship and how at home she felt; that it is no longer relevant to paint from nature; meeting Lillian Lynn and becoming great friends; moving back to New York in 1966 and working for the Museum of Natural History in the exhibits department; her work becoming less painterly, more abstract; beginning her teaching career at Barnard College in 1967; the upheaval of student riots at Columbia University and her involvement in the Peace Movement; moving to stain painting; vacationing in Santa Fe, New Mexico and the hippie culture there; how her trip to India in 1971 influenced her to use more color and primitive motifs in her work; embracing the Women's Liberation Movement; summers in Long Island and her trip to Bali. Barr also recalls Gwen Davies, John McAndrew, Alexander Calder, Chick Austin, Sydney Friedberg, Leo Steinberg, Peggy Guggenheim, Diana Cowan, Bob Chamberlain, Joey Cabell, Peter Blum, Marino Marini, Ben Shahn, Mark Rothko, Jack Tworkov, Fritz Bultman, Alice Katz, Jim Brooks, Willem de Kooning, Jasper Johns, Mark Rauschenberg, Jim Rosenquist, Claes Oldenburg, Bernard Berenson, Millard Meiss, Sydney Freedburg, Aline Saarinen, John Johansen, Jim Sobey, Nancy Graves, Richard Serra, Robert Fiore, Philip Glass, Peter Worshall, Michael Helminski, Marcia Tucker, Elke Solomon, Joan Snyder, Nancy Azara, Jane Kaufman, Pat Steir, Susan Hall, and John Giorno.
Biographical / Historical:
Victoria Barr (1937- ) is a set designer and painter from New York, New York.
General:
Originally recorded on 6 sound tape reels. Reformatted in 2010 as 12 digital wav files. Duration is 10 hr., 6 min.
Sound quality is poor.
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.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Set designers -- New York (State) -- New York  Search this
Topic:
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.barr77
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-barr77
Online Media:

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Missing Title

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
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:
Muralists -- California  Search this
Painters -- California  Search this
Art teachers -- California  Search this
Printmakers -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Artists' studios -- Photographs  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Ilse Martha Bischoff papers

Creator:
Bischoff, Ilse, 1901-1990  Search this
Names:
Cadmus, Paul, 1904-1999  Search this
French, Jared, 1905-1988  Search this
Extent:
1.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Photographs
Date:
1893-1981
Summary:
The papers of illustrator, writer and collector Ilse Martha Bischoff measure 1.2 linear feet and date from 1893-1981. Found are scattered personal and business records, correspondence, pencil and watercolor sketches, notes and writings, printed material and photographs. Correspondence is primarily with family members and colleagues including Paul Cadmus and Jared French. Photographs are of Bischoff, her family, and colleagues including Paul Cadmus and Jared French.
Scope and Content Note:
The papers of illustrator, writer and collector Ilse Martha Bischoff measure 1.2 linear feet and date from 1893-1981. Found are scattered personal and business records, correspondence, pencil and watercolor sketches, notes and writings, printed material and photographs.

Correspondence is primarily with family members and colleagues including Paul Cadmus and Jared French. Artwork includes pencil and watercolor sketches, and notes and writings consist primarily of typescripts of Bischoff's short stories. Printed material includes clippings, exhibition announcements and catalogs, and miscellaneous printed material relating to Bischoff's European travel. Of special interest are photographs of Bischoff, her family, and colleagues including Paul Cadmus and Jared French.
Arrangement:
The collection is arranged as 6 series:

Missing Title

Series 1: Personal Records, 1934-1938, 1955-1968 (Box 1; 3 folders)

Series 2: Correspondence, 1922-1981 (Box 1; 47 folders)

Series 3: Artwork, circa 1920-circa 1959 (Box 1; 1 folder)

Series 4: Notes and Writings, 1929-1975 (Box 1; 33 folders)

Series 5: Printed Material, 1929-1976 (Box 1; 15 folders)

Series 6: Photographs, 1893-1971 (Box 2; 20 folders)
Biographical Note:
Ilse Martha Bischoff was born on November 21, 1901 in New York City, to Adele Maria Timme Bischoff and Ernst Bischoff, founder of the Ernst Bischoff (pharmaceuticals) Company of Ivoryton, Connecticut.

Bischoff began her education at the Horace Mann School, later studying costume design at the Parson's School of Design. At the Art Students League, she studied painting under Frank Du Mond and etching with Joseph Pennell. While at the Art Students League, Bischoff befriended painters Paul Cadmus and Jared French. She also studied art in Paris, France, and Munich, Germany.

From 1928 to 1946, Bischoff illustrated 12 books and wrote two novels about George Washington's Portraitist, Gilbert Stuart: Painter's Coach in 1943, and Proud Heritage in 1949. Her autobiography, Drive Slowly: Six Dogs, was published in 1953. She was also an avid collector of Meissen porcelain.

Bishoff's artwork is represented in the collections of the Metropolitan Museum of Art, the New York Public Library, the Museum of Fine Arts in Boston and the Hood Museum at Dartmouth.

Ilse Martha Bischoff died December 5, 1990, in Hartland, Vermont.
Provenance:
The Ilse Martha Bischoff papers were donated in 1980-1981 by the artist.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Collectors -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Women authors  Search this
Genre/Form:
Sketches
Writings
Photographs
Citation:
Ilse Martha Bischoff papers, 1893-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.biscilse
See more items in:
Ilse Martha Bischoff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-biscilse

Design Talk | Trude Guermonprez and Lanette Scheeline: Breaking Boundaries with Design

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2019-12-18T22:58:37.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_G180XN9mjhQ

iliana emilia garcia papers, 1987-2014

Creator:
garcia, iliana emilia, 1970-  Search this
garcia, iliana emilia, 1970-  Search this
Subject:
García, Scherezade  Search this
Type:
Photographs
Place:
Altos de Chavón (Dominican Republic)
Topic:
Designers -- New York (State) -- New York  Search this
Multimedia (Art)  Search this
Women artists  Search this
Latino and Latin American artists  Search this
Theme:
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)16286
(DSI-AAA_SIRISBib)373514
AAA_collcode_garcilia
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_373514
Online Media:

Ruth Abrams papers

Creator:
Abrams, Ruth, 1912-1986  Search this
Names:
Bolotowsky, Ilya, 1907-1981  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Photographs
Date:
1934-1983
Summary:
The papers of New York based artist and educator Ruth Abrams measure 1.0 linear foot and date from 1934 to 1984. The collection includes correspondence, writings and notes, personal business records, printed material, and photographs.
Scope and Contents:
The papers of New York based artist and educator Ruth Abrams measure 1.0 linear foot and date from 1934 to 1984. The collection includes correspondence with colleagues and business associates; writings and notes related to Abrams 1970's film Paradox of the Big and writings by others; personal business records; exhibition announcements, news clippings, and other printed materials; and photographs. Photographs depict Abrams in her studio and with colleagues and students, exhibition openings, including four photographs of Ilya Bolotowsky attending her 1977 exhibition, and photographs of artwork.
Arrangement:
The collection is arranged as five series.

Series 1: Correspondence, 1948-1982 (Box 1; 12 folders)

Series 2: Writings and Notes, 1957-1977 (Box 1; 10 folders)

Series 3: Personal Business Records, 1958-1977 (Box 1; 3 folders)

Series 4: Printed Material, 1934-1983 (Box 1; 16 folders)

Series 5: Photographs, 1950-1978 (Box 1; 6 folders)
Biographical / Historical:
Ruth Abrams (1912-1986) was a painter in New York, NY. She was the art director at the Research Association of The New School from 1965 to 1966, and a lecturer at Parsons School of Design. Abrams is best known for her abstract style and outer-space paintings as well as a 1970s art film entitled, Paradox of the Big.
Provenance:
The Ruth Abrams papers were donated to the Archives of American Art by Ruth Abrams between 1981-1983.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists' studios--Photographs  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Genre/Form:
Photographs
Citation:
Ruth Abrams papers, 1934-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.abraruth
See more items in:
Ruth Abrams papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-abraruth

iliana emilia garcia papers

Creator:
garcia, iliana emilia, 1970-  Search this
Names:
García, Scherezade, 1966-  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Altos de Chavón (Dominican Republic)
Date:
1987-2014
Summary:
The papers of Dominican Republic born multimedia artist and designer iliana emilia garcia measure 0.5 linear feet and date from 1987 to 2014. The collection is comprised of art reproductions, an annotated book, booklets and pamphlets for events and organizations, exhibition announcements and catalogs, and clippings that relate to garcia along with some material related to her sister Scherezade Garcia. The collection also includes one photograph of garcia's Paid/Received installation and student documents from Altos de Chavon.
Scope and Contents:
The papers of Dominican Republic born multimedia artist and designer iliana emilia garcia measure 0.5 linear feet and date from 1987 to 2014. The collection is comprised of art reproductions, an annotated book, booklets and pamphlets for events and organizations, exhibition announcements and catalogs, and clippings that relate to garcia along with some material related to her sister Scherezade Garcia. The collection also includes one photograph of garcia's Paid/Received installation and student documents from Altos de Chavon.
Arrangement:
The collection is arranged as one series.

Series 1: iliana emilia garcia Papers, 1987-2014 (Box 1; 0.5 linear feet)
Biographical / Historical:
iliana emilia garcia (1970- ) is a multimedia artist and designer in Brooklyn, New York. She was born in Santo Domingo, Dominican Republic and attended the Altos de Chavon School of Design before receiving a scholarship to the Parsons School of Design's summer program in 1988. In 1989 she was awarded the Ruth Vanderpool Parsons Institutional Scholarship for Portfolio Excellence. In 1991 garcia went on to receive a Bachelor of Fine Arts in Communication Design from Parsons. She is also one of the founding members of the printmaking collective Dominican York Proyecto Grafica.
Related Materials:
Also found in the Archives of American Art are the papers of Scherezade Garcia, the sister of iliana emilia garcia.
Provenance:
The collection was donated in 2015 by iliana emilia garcia.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Topic:
Designers -- New York (State) -- New York  Search this
Multimedia (Art)  Search this
Women artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Photographs
Citation:
iliana emilia garcia papers, 1987-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.garcilia
See more items in:
iliana emilia garcia papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-garcilia

Sidney Simon papers

Creator:
Simon, Sidney, 1917-1997  Search this
Names:
Budd (Firm : New York, N.Y.)  Search this
Century Association (New York, N.Y.)  Search this
Colby College  Search this
Graham Gallery  Search this
Pennsylvania Academy of the Fine Arts  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
United States. Army. Corps of Engineers  Search this
Emmerich, André  Search this
Gonzalez, Xavier, 1898-1993  Search this
Gotfryd, Bernard  Search this
Hélion, Jacqueline  Search this
Jencks, Penelope  Search this
Kelly, Ellsworth, 1923- -- Photographs  Search this
King, William, 1925-2015  Search this
Meredith, Burgess, 1907-1997  Search this
Motherwell, Robert -- Photographs  Search this
Nevelson, Louise, 1899-1988 -- Photographs  Search this
Pousette-Dart, Richard, 1916-1992  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
8 Linear feet
2.21 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Date:
circa 1917-2002
bulk 1940-1997
Summary:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.
Scope and Contents:
The papers of sculptor, painter, and educator Sidney Simon measure 8.0 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-11; 3.0 linear feet)
Biographical / Historical:
Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.
Related Materials:
The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].
Separated Materials:
The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009.
Restrictions:
Use of original material 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:
War artists  Search this
Topic:
Art -- Study and teaching  Search this
Sculptors -- New York (State) -- New York  Search this
World War, 1939-1945 -- Personal narratives  Search this
World War, 1939-1945 -- Campaigns -- Pacific Area  Search this
World War, 1939-1945 -- Art and the war  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Photographs
Sound recordings
Transcripts
Sketchbooks
Sketches
Interviews
Illustrated letters
Diaries
Citation:
Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.simosidn
See more items in:
Sidney Simon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-simosidn

Oral history interview with Shirley Jaffe

Interviewee:
Jaffe, Shirley, 1923-2016  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Brooklyn Museum  Search this
Cooper Union for the Advancement of Science and Art -- Students  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Phillips Collection  Search this
Solomon R. Guggenheim Museum  Search this
Biala, Janice, 1904-2000  Search this
Delaney, Beauford, 1901-  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Ford, Hermine  Search this
Francis, Sam, 1923-1994  Search this
Goldberg, Michael, 1924-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Riopelle, Jean Paul  Search this
Extent:
1 Item (Sound recording, master: 1 compact disc, 3 WMA files (4 hr., 28 min.), digital, 2 5/8 in.)
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 Sept. 27-28
Scope and Contents:
An interview of Shirley Jaffe conducted 2010 Sept. 27 and 28, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jaffe's studio, in Paris, France.
Jaffe speaks of living with her family in Elizabeth, NJ and Brooklyn, NY; attending Abraham Lincoln High School, Parsons School of Design, Brooklyn College, and The Cooper Union for the Advancement of Science and Art; visiting the Brooklyn Museum, the Museum of Non-Objective Art (now the Solomon R. Guggenheim Museum), and The Museum of Modern Art; living on St. Mark's Place and in Brooklyn, NY ; her marriage in 1949 to Irving Jaffe; moving to Washington, DC and visiting The Philips Collection; moving to and adjusting to life in France; socializing with American artists in Paris, France; moving between New York and France; working and living in Berlin, Germany with a grant from the Ford Foundation; living independently in France; visiting the cathedrals and galleries in Italy; teaching undergraduate students; the evolution of her paintings and technique; her painting process and use of cellophane; painting on glass; murals; and her exhibitions and commissions. Jaffe also recalls Leon Friend, Morris Kantor, Pierre Bonnard, Karl Knaths, Max and Esther Gould, Jules Olitski, Michael Goldberg, Joan Mitchell, Beauford Delaney, Sam Francis, Janice Biala, Hermine Tworkov Ford, Edwin Dickinson, Jean-Paul Riopelle, Kimber Smith, Jean Fournier, Al Held, Haywood Bill Rivers, Milton Glaser, and others.
Biographical / Historical:
Shirley Jaffe (1923-2016) was an abstract painter and sculptor in Paris, France. Avis Berman (1949- ) is a scholar in New York, N.Y.
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.
Rights:
Transcript: Authorization to quote or reproduce for the purposes of publication requires written permission from Jerome Sternstein. Contact Reference Services for more information.
Occupation:
Painters -- France -- Paris  Search this
Sculptors -- France -- Paris  Search this
Art dealers -- France -- Paris  Search this
Topic:
Painting -- Equipment and supplies  Search this
Painting -- Technique  Search this
Women artists  Search this
Expatriate artists -- France -- Paris  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jaffe10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jaffe10

Abraham Joel Tobias papers

Creator:
Tobias, Abraham Joel, 1913-1996  Search this
Names:
Congress of Industrial Organizations (U.S.)  Search this
Fine Arts Federation of New York  Search this
United States. Work Projects Administration  Search this
Block, Irving  Search this
Brooks, James, 1906-1992  Search this
Caswell, Edward C.  Search this
Evergood, Philip, 1901-1973  Search this
Gaber, George  Search this
Gill, Brendan, 1914-1997  Search this
La Gambina, Vincent, 1909-1994  Search this
Lishinsky, Abraham  Search this
Orozco, José Clemente, 1883-1949  Search this
Spivak, Max, 1906-1981  Search this
Tobey, Alton S. (Alton Stanley), 1914-2005  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Photographs
Date:
1913-2000
Summary:
The Abraham Joel Tobias papers date from 1913 to 2000 and measure 2.8 linear feet. Through project and exhibition files, printed material, correspondence, and photographs, the collection provides an overview of Tobias's career as a painter and muralist in New York City.
Scope and Content Note:
The Abraham Joel Tobias papers date from 1913 to 2000 and measure 2.8 linear feet. Through project and exhibition files, printed material, correspondence, and photographs, the collection provides an overview of Tobias's career as a painter and muralist in New York City.

General correspondence regards mural proposals, exhibitions, professional activities, and museums' acquisitions of artwork by Tobias. A file of correspondence with the Fine Arts Federation of New York concerns efforts to recognize murals by Irving Block, James Brooks, Philip Evergood, Abraham Lishinsky, José Clemente Orozco, and Max Spivak as landmarks; it also includes minutes of meetings, 1988-1995, that reflect Tobias's service as a board member. Other correspondence is with friends and artists including Edward Caswell, George Gaber, Filia Holtzman, Vincent La Gambina, and Alton S. Tobey.

Project files document murals such as: The Four Freedoms, Midwood High School, Brooklyn, New York, honoring students and teachers who died in World War II (circa 1946); Birth for the maternity ward at Mount Sinai Hospital, New York City (1951-1953); and Medical Science and Medical Research, Long Island Jewish Hospital (1954). The Science and Engineering project file (1958) contains a patent certificate for striated plastic, a material Tobias used in two murals. Also of interest is correspondence with the Harman Foundation regarding a documentary film about Tobias's use of ethyl silicate for outdoor murals. Among the exhibitions documented are: "Plastics U.S.A.," "New York WPA Artists Then and Now," and "Abraham Joel Tobias: Sculptural Paintings of the 1930s."

Printed material consists of announcements, invitations, solo and group exhibition catalogs, and clippings relating to Tobias's artistic career. Also found are pamphlets he designed for the Congress of Industrial Organizations. Photographs are of Tobias's artwork and the artist with friends and family. There is a video recording of an interview with Tobias conducted by Brendan Gill in 1995.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Materials, 1913-1996 (Boxes 1, 4; 0.3 linear feet)

Series 2: Correspondence, 1933-1997 (Box 1; 0.4 linear feet)

Series 3: Project and Exhibition Files, 1938-2000 (Boxes 1, 2, 4, OV 5; 1.6 linear feet)

Series 4: Writings, circa 1928-1992 (Box 2; 0.1 linear feet)

Series 5: Printed Material, 1913-1999 (Boxes 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1990s (Box 3; 1 folder)

Series 7: Photographs, 1929-1970 (Box 3; 0.1 linear feet)

Series 8: Video Recording, 1995 (Box 3, 1 folder)
Biographical Note:
Abraham Joel Tobias (1913-1996) was a painter, muralist, and educator in New York City. He was a pioneer in the use of shaped canvases.

A native of Rochester, New York, Tobias came to New York City to study at the Cooper Union School of Art, 1930-1931, and at the Art Students League, 1930-1933. He worked for the Federal Arts Project,1938-1940, where he continued his training as a muralist, working with artist and technicians.

During World War II, Tobias served in the armed forces. He was an art director with the Intelligence Division, Army Air Force, and in 1945 was employed as a graphic designer for the Office of Strategic Services (OSS). Tobias was artist-in-residence and served as instructor in painting and drawing at Adelphia College, Garden City, Long Island, 1947-1957. He also was was a visiting lecturer at various schools including Howard University, Brooklyn Museum Art School, Pratt Institute Art School, as well as at colleges in Illinois and Kansas.

Tobias completed over ten mural commissions for governmental agencies and educational institutions, including: United States Post Office, Clarendon, Arkansas; Howard University, Washington, D.C.; James Madison High School, Brooklyn, New York; Beth Israel Hospital, New York City; Domestic Relations Court Building, Brooklyn, New York; and Adelphi College, Garden City, New York. In 1962, Tobias began The History of Science mural for the lobby of the Polytechnic Institute of Brooklyn; it was never completed.

Tobias experimented with diverse materials such as terrazzo and mosaic for mural application. He also broke new ground with the use of ethyl silicate paint as a permanent medium for outdoor murals. In 1958, he patented striated plastic, a pliable material used to achieve an effect similar to stained glass.

He participated in many solo and group exhibitions. In 1935, Tobias presented his shaped canvas painting in the "Sculptural Painting" exhibition at Delphic Studios in New York City. In 1987, Tobias was recognized for his earlier pioneering work with a retrospective exhibition, "Abraham Joel Tobias: Sculptural Paintings" at The Jane Voorhees Zimmerli Art Museum of Rutgers University. Other exhibitions included: "Plastics U.S.A.," the United States Information Service's exhibition in Moscow (1961); "New York City WPA Art," Parsons School of Design, New York City (1977); "For a Permanent Public Art," Tweed Gallery, New York City (1989); and "The Technological Muse," Katonah Museum of Art, New York (1991).

Tobias's professional memberships included the Architectural League of New York, National Society of Mural Painters, and New York Artists Equity Association. He served on the Board of Directors for the Fine Arts Federation of New York from 1988-1996. He won the Architectural League Award in 1952. The Art Commission of the City of New York recognized Tobias, posthumously, for distinguished service to public art.

Abraham Joel Tobias married Carolyn Pratt in 1949; the couple had one daughter. Abraham Joel Tobias died in Rego Park, New York, in 1996 at the age of 82.
Provenance:
The papers were donated in 2001 by Carolyn Tobias, the widow of Abraham Joel Tobias.
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:
Mural painting and decoration  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Video recordings
Photographs
Citation:
Abraham Joel Tobias papers, 1913-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tobijoel
See more items in:
Abraham Joel Tobias papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tobijoel

Robert W. White papers

Creator:
White, Robert, 1921-2002  Search this
Names:
American Academy in Rome  Search this
American Battle Monuments Commission  Search this
Century Association (New York, N.Y.)  Search this
Davis Galleries  Search this
Graham Gallery  Search this
Graham Modern (Gallery)  Search this
Heckscher Museum  Search this
National Academy of Design (U.S.)  Search this
Parsons School of Design  Search this
Parsons School of Design -- Faculty  Search this
Peabody Museum  Search this
Skowhegan School of Painting and Sculpture -- Faculty  Search this
State University of New York at Stony Brook  Search this
Steuben Glass (Firm)  Search this
Suffolk Museum  Search this
United States. Coast Guard  Search this
Ames, Amyas  Search this
Cremer, Theodore  Search this
Fleischmann, Patricia  Search this
Fosburgh, Hugh, 1916-  Search this
Franklin, Gilbert, 1919-2004  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Harrison, Jim  Search this
Hobbs, Susan, 1945-  Search this
Huntington, Willard R.  Search this
Kean, Rebekah Harkness  Search this
La Farge, Bancel, 1865-1938  Search this
Lamb, Ward  Search this
Lessard, Suzannah  Search this
Lowe, David, 1933-  Search this
Matthiessen, Peter  Search this
O'Cain, Walker  Search this
Oxman, Katja  Search this
Oxman, Mark  Search this
Platt, Frank C. (Frank Cheney), 1932-  Search this
Pope, Laura Spencer  Search this
Resika, Ellen  Search this
Resika, Paul  Search this
Ripley, Sidney Dillon, 1913-2001  Search this
Russotto, Paul  Search this
Simon, Sidney, 1917-1997  Search this
Styron, William, 1925-  Search this
White, Bessie Chanler  Search this
White, Claire Nicolas, 1925-  Search this
White, Lawrence Grant  Search this
Extent:
8.4 Linear feet
0.846 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Drawings
Essays
Sound recordings
Sketchbooks
Lectures
Notebooks
Sketches
Date:
1889-2003
bulk 1915-2003
Summary:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.
Scope and Content Note:
The papers of New York sculptor Robert White measure 8.4 linear feet and 0.846 GB and date from 1889-2003, with the bulk of the material from 1915-2003. The collection documents White's varied career as a sculptor, educator, painter, and illustrator through biographical material; extensive correspondence; project files; personal business records; notes and writings; sketchbooks and sketches by Robert White and others; printed and digital material; audiovisual material; artifacts; and photographs.

Scattered biographical materials include a curriculum vitae, documentation relating to White's service in the U.S. Coast Guard, a certificate of appreciation, and a memorial card for White's daughter, Natalie Laura White.

Correspondence contains primarily incoming letters from family and friends, and from clients, galleries, museums, arts organizations, students, and university administrators. Spanning over a seventy year period, family and friends correspondence centers on daily activities, events, and work. There is extensive correspondence from Robert White's parents, Lawrence Grant White and Bessie Chanler White and from Claire Nicolas White and her family. Other correspondents include Gil Franklin, Walker Hancock, Jim Harrison, Susan Hobbes, Willard R. Huntington, Ben LaFarge, Ward Lamb, Suzannah Lessard, Peter Matthiessen, Walker O'Cain, Mark and Katja Oxman, Frank C. Platt, Laura Spencer Pope, Paul and Ellen Resika, Paul Russotto, Sidney Simon, and William Styron, among others.

General correspondence mostly concerns White's commissions, teaching appointments, and his activities in professional organizations. Also included are letters from family members, friends, and colleagues. Frequent correspondents include: the American Academy in Rome, Amyas Ames, the Augustus Saint Gaudens Memorial, Century Association, Theodore Cremer, Davis Galleries, Patricia Fleischmann, Hugh Fosburgh, Rebekah Harkness Kean, David Garrard Lowe, National Academy of Design, Parsons School of Design, S. Dillon Ripley, the State University of New York at Stony Brook, Steuben Glass, and the Suffolk Museum and Carriage House.

Project files contain materials on Robert White's exhibitions and his commissioned projects. Materials include letters, lists of artwork, notes, price lists, receipts, exhibition schedules, contracts, and loan agreements. Files document White's exhibits at the Davis Galleries, Elaine Benson Gallery, Graham Gallery, Graham Modern, Heckscher Museum, and the State University of New York at Stony Brook. Included are extensive files on White's commissions for the American Battle Monuments Commission, Peabody Museum, and Steuben Glass.

Personal business records include files on Robert White's association with the Augustus Saint Gaudens Memorial and the National Academy of Design; his teaching appointments at the Parsons School of Design, the State University of New York at Stony Brook, and the Skowhegan School of Painting and Sculpture; and his dealings with foundries. There are scattered files on the Whites' St. James, New York property and residence.

Notes and writings contain Robert White's diaries, artist's statements, notebooks, essays on art, lectures, and scattered notes. Also found are writings by Clare White and others.

Sketchbooks and loose sketches contain preliminary studies by Robert White and scattered sketches by others. Printed material houses newspaper clippings and periodicals; exhibition announcements, catalogs, brochures, and posters; press releases and newsletters; and miscellaneous printed material.

Artifacts include two printing blocks: a portrait sculpture of Stephanie White and a landscape image. Audiovisual material consists of a digital audio recording of a classroom lecture by Robert White at an unidentified venue.

Photographs house images of Robert White; his studio; and snapshots of family and friends, many unidentified. Also included are photographs and slides of artwork.
Arrangement:
The collection is arranged into ten series:

Series 1: Biographical Material, 1939-2002 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1923-2002 (Boxes 1-4; 3.8 linear feet)

Series 3: Project Files, 1952-2003 (Boxes 4-5, OV 10; 1.2 linear feet)

Series 4: Personal Business Records, 1889, 1946-2003 (Boxes 5-6, OV 10; 1.3 linear feet)

Series 5: Notes and Writings, 1915, circa 1946-2002 (Boxes 6-7; 0.6 linear feet)

Series 6: Sketchbooks and Sketches, circa 1965-1972 (Boxes 7, 9; 0.3 linear feet

Series 7: Printed Material, 1937-2003 (Boxes 7, 9; 0.5 linear feet)

Series 8: Audiovisual Material, 1973 (ER01; 0.846 GB)

Series 9: Artifacts, circa 1965 (Box 7; 0.1 linear feet)

Series 10: Photographs, circa 1940s-2001 (Box 8; 0.5 linear feet)
Biographical Note:
Robert Winthrop White (1921-2002) lived and worked in St. James, New York and was primarily known as a sculptor and educator.

He was the son of the architect, Lawrence Grant White (1887-1956) and Bessie Chanler White. Stanford White (1853-1906), Robert's grandfather, was one of the founding partners in the prominent New York City architectural firm, McKim, White, and Mead.

As a youth, Robert White traveled to Munich, Germany to study woodcarving, sculpture, and painting. In 1935, he entered Portsmouth Priory School in Rhode Island. From 1938-1942, he was enrolled in the Rhode Island School of Design, where his mentors were Walter Raemisch in sculpture and John Howard Benson in calligraphy. In World War II, White served as chief boatswain's mate in the United States Coast Guard and later worked in the Office of Strategic Services (OSS). At the end of the war, White continued his training in sculpture and painting. In 1947, Robert White married Clare Nicolas, daughter of the painter and stained glass master, Joep Nicolas and the sculptor, Suzanne Nicolas.

Robert White, influenced by the classical techniques of the Renaissance artists, worked in various media, such as bronze, stone, plaster, terra-cotta, and wood. His subjects included portrait, figure, and life studies; animals; and dancers. Robert White also was an illustrator. He illustrated works by Laura Spencer Pope, William Styron, and others. White also illustrated two collections of his own poems, Casques and Dust and Palace: The Story of A Friendship that were privately published before his death in 2002.

Robert White held teaching positions at several universities and schools, including the Suffolk Museum of Art, the Parsons School of Design, and the Skowhegan School of Painting and Sculpture. From 1967-1987, White was an associate professor at the State University of New York at Stony Brook.

White exhibited his work in museums and galleries in the United States and abroad, including Artists Choice Museum, Artist's Gallery, Benson Gallery, Boston Athenaeum, Gallery North, Hartwick College Museum, Nassau County Museum of Fine Art, Patricia Fleischmann Gallery, Rijksakademie Van Beeldende, State University of New York at Stony Brook, and the Suffolk Museum and Carriage House, among others. Robert White was represented by the Davis Gallery, Graham Gallery, and Graham Modern in New York City.

Robert White's private and public commissions included works for the American Battle Monuments Commission, Amyas Ames, Theodore Cremer, John Marquand, Peabody Museum, State University of New York, William Styron, and Xerox Corporation. His work can be viewed in the collections of the Boston Athenaeum, Brooklyn Museum, Civici Musei 3 Gallerie di Storia e Arte, Heckscher Museum, and the Rhode Island School of Design. Robert White was the recipient of the Laurel Gallery's "New Talent" exhibition prize, 1948; American Academy's Rome Prize, 1952-1954; and the Proctor Memorial Prize at the National Academy of Design, 1962, 1982. He was also awarded grants from the Tiffany Foundation, 1950 and the Fairfield Foundation, 1968. From 1952-1955, White was a fellow of the American Academy in Rome, where he also served as an artist-in-residence from 1969-1970. Robert White was a member of the American Academy in Rome, the Augustus Saint Gaudens Memorial, Century Association, and the National Academy of Design.

Robert White continued to work on the family estate in St. James, New York until his death in 2002.
Provenance:
The Robert W. White Papers were donated in 2003 by Claire Nicolas White, widow of Robert White.
Restrictions:
Use of the 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:
Educators -- New York (State) -- New York  Search this
Sculptors -- New York (State)  Search this
Sculpture -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Diaries
Drawings
Essays
Sound recordings
Sketchbooks
Lectures
Notebooks
Sketches
Citation:
Robert W. White papers, 1889-2003 (bulk 1915-2003). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whiterobe
See more items in:
Robert W. White papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whiterobe

Personal Business Records

Collection Creator:
White, Robert, 1921-2002  Search this
Extent:
(Boxes 5-6; 1.3 linear feet)
Type:
Archival materials
Date:
1889, 1946-2003
Scope and Contents note:
Personal business records include materials pertaining to Robert White's involvement on the Executive Committee of the Augustus Saint-Gaudens Memorial and at National Academy of Design; his teaching appointments at the Parsons School of Design and the State University of New York at Stony Brook; and his dealings with foundries, mainly the Modern Art Foundry and the stone engraver, John Stevens Shop. Also included are scattered files on the Whites' family residence amd property in St. James, New York; price lists for artwork; loan agreements to museums from Robert and Claire White's personal art collection; and printouts listing White's sales, exhibitions, sketchbooks, and sculptures, reliefs, drawings, portraits, commercial commissions, and student work.

Files contain: correspondence and memoranda; lists and notes; and business-related materials, such as deeds, invoices, receipts, sales of artwork, agreements, elevation plans and surveys, and miscellaneous legal and tax records.

This series is arranged in chronological order. Personal Business Records can be found in Series 2: Correspondence, Series 3: Project Files, and Series 5: Notes and Writings. work (1942-1993).
Arrangement note:
The files are arranged in chronological order.
Collection Restrictions:
Use of the original papers requires an appointment. 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:
Robert W. White papers, 1889-2003 (bulk 1915-2003). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whiterobe, Series 4
See more items in:
Robert W. White papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-whiterobe-ref290

Julia Santos Solomon papers

Creator:
Santos Solomon, Julia, 1956-  Search this
Names:
Parsons School of Design -- Faculty  Search this
Calamari, Barbara  Search this
Dye, Alice  Search this
Dye, Pete  Search this
Extent:
2.2 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Sketchbooks
Video recordings
Place:
Altos de Chavón (Dominican Republic)
Date:
1977-2008
Scope and Contents:
Writings, correspondence, commission files, teaching files, artists' files, a scrapbook, works of art, printed material, and audio visual material documenting the career of Julia Santos Solomon as an artist and teacher.
Writings include three diaries recording Santos Solomon's study of art and design, largely in the Dominican Republic and Europe. Correspondence is with Alice Dye, wife of Pete Dye, golf course architect. Commission files relate to golf course landscape paintings, prints, and textiles. Teaching files consist of syllabi and annotated student drawing submissions from Altos de Chavon School of Design and Parsons School of Design. Artists' files relate to artist residencies at Altos de Chavon School of Design. One scrapbook includes altered photographs, drawings, writings, and various printed material.
Artwork consists of three sketchbooks, sketches, fashion illustrations, an original watercolor, pen, and pencil textile designs and prints for golf course landscapes. Printed material includes exhibition catalogs and announcements, newspaper and magazine clippings. Audio visual material consists of a DVD and CD related to the pilot television program 'Lola' (never produced) created by Santos Solomon and Barbara Calamari and loosely based on Santos Solomon's biography, especially as a teenager and young adult. Also included are episode descriptions and notes about the show.
Biographical / Historical:
Julia Santos Solomon (1956- ) is a teacher, painter, and textile and fashion designer in the Dominican Republic and Woodstock, New York. Julia Santos Solomon taught fashion and design illustration at Altos de Chavon School of Design in the Dominican Republic and at Parsons School of Design in New York.
Provenance:
Donated 2015 and 2016 by Julia Santos Solomon.
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.
Occupation:
Art teachers -- Dominican Republic  Search this
Art teachers -- New York (State)  Search this
Fashion designers -- Dominican Republic  Search this
Fashion designers -- New York (State)  Search this
Painters -- Dominican Republic  Search this
Painters -- New York (State) -- Woodstock  Search this
Textile designers -- Dominican Republic  Search this
Textile designers -- New York (State)  Search this
Topic:
Golf courses  Search this
Latino and Latin American artists  Search this
Genre/Form:
Drawings
Scrapbooks
Sketchbooks
Video recordings
Identifier:
AAA.santjuli
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-santjuli

Saul Nesbitt Papers

Collector:
Cooper-Hewitt Design Archive  Search this
Cooper-Hewitt Design Archive  Search this
Creator:
Nesbitt, Saul, 1920-1993  Search this
Names:
Archway Cookies, Inc.  Search this
Borden's Farm Products Co. of Illinois  Search this
Campbell Soup Company  Search this
Cooper-Hewitt Design Archive  Search this
Eastman Kodak Company  Search this
Florists' Telegraph Delivery Association  Search this
Franco American Food Co.  Search this
Lever Brothers and Unilever, ltd.  Search this
National Distillers and Chemical Corporation  Search this
Nesbitt Associates, Ltd.  Search this
P. Ballantine & Sons  Search this
Philip Morris Incorporated  Search this
Revlon, Inc.  Search this
Schick (Firm)  Search this
Scott Paper Company  Search this
Seagram Company  Search this
Extent:
3.5 Cubic feet
Type:
Collection descriptions
Archival materials
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs
Media lists
Blueprints
Drawings
Clippings
Client lists
Date:
1951-1984
Scope and Contents:
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.

He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.

He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.

Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Provenance:
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Occupation:
Industrial designers  Search this
Packaging designers  Search this
Graphic designers  Search this
Topic:
Consumers -- Research  Search this
Consumers' preferences -- United States  Search this
Housewives as consumers  Search this
Labels -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Graphic arts -- United States  Search this
Design, Industrial -- United States  Search this
Packaging -- Design  Search this
Genre/Form:
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs -- 20th century
Media lists
Blueprints
Drawings
Clippings
Client lists
Citation:
Saul Nesbitt Papers, 1951-1984, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1275
See more items in:
Saul Nesbitt Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1275

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