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:
KPFK "Art Scene" interviews, 1950-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.
Folder 11 Exhibition of the United States of America, 1965 (booklet, publisher unknown, of an exhibition organized by the Pasadena Art Museum, Pasadena, California, at the invitation of the United States Information Agency and shown at the Museum of Mo...
Container:
Box 9 of 21
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 333, National Collection of Fine Arts/National Portrait Gallery Library, Exhibition Records
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.
Subseries consists of correspondence between Cornell and friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired or with whom he was especially preoccupied, "helpers," and charitable institutions. Included are letters (in some instances, with photographs or poems enclosed), postcards, and greeting cards, as well as some art work, three-dimensional objects, and artifacts. Also included are some notes and printed material, such as newspaper and magazine clippings, pamphlets, brochures, publications, and publicity material, pertaining to individuals, institutions, and/or topics in which Cornell had a particular interest.
Correspondence documents some of Cornell's activities involved in creating his art work, such as his practice of using multiple copies of a single image in many of his works (as in a letter from John Allen referring to Cornell's order for multiple prints of a Loie Fuller image); his early attempts to advertise his art work (as in letters from the Blaker Advertising Agency, Columbia Records, Inc., and N. W. Ayer and Son); and his later, oftentimes hesitant, transactions with galleries and dealers, including Irving Blum, Charles Egan, Richard Feigen, Julien Levy, Robert Schoelkopf, and Eleanor Ward ( See also Series 1). Correspondence relates to the sale of his art work to galleries and individual collectors, and the exhibition of his art work in museums, including the Cleveland Museum of Art, Guggenheim Museum ( See Diane Waldman and Tom Messer), Pasadena Art Museum, and Whitney Museum ( See also John Baur).
The positive reception of Cornell's art work is documented in many letters from admirers (including poet, Paul Carroll, who wrote two poems about Cornell's art work, the Fourth Grade Class at Murray Avenue School, actress, Eva Marie Saint, and author, Glenway Wescott, among others). The critical reception of Cornell's art work is documented in the many letters from people who have written or express interest in writing an article about Cornell (including Howard Griffin from Art News, David Bourdon from Life magazine, and Brian O'Doherty, author of American Masters: The Voice and the Myth, among others).
Correspondence also concerns some of Cornell's major "explorations," including ones on the singers, Maria Malibran and Giuditta Pasta (as in letters from the English scholar, Richard Coe), and the ballerina, Fanny Cerrito (as in letters from Lillian Moore). Correspondence relates to his other research and collecting activities and includes numerous letters responding to his requests for information and/or material from institutions, such as the Harvard College Library, dealers, such as C. and I. K. Fletcher, and individuals, such as Marian Hannah Winter.
Correspondence documents Cornell's preoccupations with certain dancers (such as Allegra Kent, Tanaquil LeClerq, and Tamara Toumanova), actresses (such as Lois Smith), artists (Lee Bontecou), and other young women; his relationships with other artists, both young and established, including Piero Dorazio, Ray Johnson, Hubert Kappel, Roberto Matta Echauren, Dorothea Tanning, and Pavel Tchelitchew, among others; and his friendships and shared interests with individuals, such as Wayne Andrews, Charles Henri Ford, Parker Tyler, Donald Windham, and Marian Hannah Winter (their letters often entailing an exchange of ideas on topics such as literature, music, dance, art, and the pleasures of collecting). Correspondence also documents his generosity (in terms of gift giving) toward his friends (and their children) and individuals whom he admired (as in letters and notes of thanks for gifts of art work from Valerie Adams, George Bennette, Lee Bontecou, Susan Sontag, Jessica Tandy, and Tamara Toumanova, among others); and his generosity toward institutions providing public services to the less fortunate (as in letters acknowledging and expressing gratitude for donations from the New York Institute for the Education of the Blind and the Bedside Network, among others).
General correspondence is arranged in files according to correspondent and then alphabetically according the surname of the individual or the name of the institution. Items are arranged in rough chronological order within each file. When only a few items (typically less than three) are associated with a correspondent, these are arranged into general alphabetical files. Unidentified and miscellaneous items are arranged into files at the end of the subseries.
Collection Restrictions:
Use of the original papers requires an appointment.
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:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
This subseries contains both personal and professional correspondence from the early years of Wood's career as an actress and artist until the end of her life. Included in this series are letters to and from friends, family, clients, other artists, gallery owners, museums, and editors. An an avid writer, Wood maintained lifelong relationships through her letters. Correspondents include John Estenza, Anna Bing Arnold, Ruth Maitland, Ruth Dayan, Reginald Pole, Anais Nin, Dorothy Liebes, Rue McClanahan, Elizabeth Reynolds Hapgood, Rupert Pole, Esther Rosencrantz, Michael Weightman-Smith, and Geesche Ninke. Wood also formed many personal and professional relationships with individuals she met during her three trips to India in 1961, 1966, and 1971. Among these correspondents are Kamaladevi Chattopadhyay, N. Suri Ram, P. K. Vyas, Srimali Rukmini Devi, and N. Kumar Das.
Several art museums are represented in this subseries, including DeYoung Memorial Museum, Hirshhorn Museum and Sculpture Garden, Pasadena Art Museum, Phoenix Art Museum, San Francisco Museum of Art, and Santa Barbara Museum of Art.
See Appendix for a list of correspondents from Series 2.1.
Arrangement note:
Material is arranged chronologically by date. Undated letters can be found at the end of the subseries, arranged by last name of correspondent. Note that Wood's correspondence with the galleries is found in Series 3: Personal Business Records. Additional correspondence with publishers is found in Series 4: Notes and Writings.
Appendix: Correspondents in Series 2.1.:
Agrawal, Satyendra Narayan: 1966
America House: 1943-1944, 1952-1953, 1956-1957, 1962-1967, 1969
San Francisco Museum of Art: 1953, 1956-1958, 1971
Santa Barbara Museum of Art: 1950, 1954, 1958, 1967-1968, 1972
Sasaki, George: 1981, 1983, 1989, 1992-1993
Skiles, Bob: 1951-1952, 1982
Sipprell, Texana: 1947, 1958-1960
Stern Evelyn: 1977, 1992
Story, Ala: 1965, 1967
Takaezu, Toshiko: 1988
Taylor, June: 1949-1951, 1952-1953, 1958
Tibbitt, Laurence: 1926
Tomlin, Lily: 1984, 1987
Vyas, P. K.: 1962-1965, 1967-1968
Wallace, Marlene: 1977, 1989
Warrington, A. P. and Betty: 1929-1930, 1932-1934, 1939
Wash, Connie: 1961
Watson, Steven: 1988-1989
Webb, Aileen: 1947, 1950-1951, 1965, 1967-1968
Webster, Win: 1990, 1992
Weidemann, William: 1945, 1947
Weightman-Smith, Michael (Michael O'Shaughnessy): 1930, 1933-1934, 1936-1948, 1950, 1956, 1982
Wilkie, Margo: 1980, 1986-1986, 1989, 1991-1992
Wood, Carrara R. (Wood's mother): 1930-1936
Wright, Lloyd: 1947, 1969
Zook, Edgar: 1926, 1936-1943, 1947, 1967
Collection 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.
The unprocessed addtion to this collection is currently closed for processing and digitization. Contact Reference Services for more information.
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:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.
Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.
Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.
Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.
Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.
University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.
Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.
Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.
Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.
Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.
Missing Title
Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)
Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)
Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)
Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)
Series 5: Diaries, 1977-1989 (6 folders; Box 6)
Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)
Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)
Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)
Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)
Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.
After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.
Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.
Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.
In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.
Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.
Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
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 -- Los Angeles Search this
Interview of John W. Outterbridge conducted 1973 January 3, by Allen Bassing, for the Archives of American Art.
Outterbridge speaks of his family background and how that influenced him to lean toward the arts; attending Agriculture & Technical University and majoring in engineering even though he wanted to become an artist; joining the Army in order to get the G.I. Bill so he could afford school; painting during his three-year stint in the service, and how his company commander admired his work and got him a studio; attending the Chicago Academy of Art, then the American Academy of Art after leaving the military; moving to Los Angeles to pursue a career as an artist full-time; quitting painting and deciding to focus on sculpture; working at the Pasadena Art Museum, and how it disturbed him that there weren't any Black artists being represented in the shows he was installing there; getting involved with the Compton Communicative Arts Academy just as it was starting; and the present situation of the Compton Communicative Arts Academy and where he sees it going. He recalls Andy Warhol, Peter Alexander, Richard Serra, Robert Rauschenberg, Mark di Suvero, John Coplans, Judson Powell, Noel Puerefoy, Charles Dickson, Bobby Gilmore, and many others.
Biographical / Historical:
John Outterbridge (1933-2020) was an art administrator, painter, and sculptor from Los Angeles, California.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles Search this
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
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:
Gregory Battcock Papers, 1952-circa 1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Battcock's financial files include invoices and royalty statements for articles written for Domus magazine and for books published by his long-time publishing company E.P. Dutton and Co., Inc. Legal papers include agreements for partnerships with film companies, an agreement to loan Andy Warhol's "Self Portrait" to the Pasadena Art Museum, the estate papers of Battcock's father, contracts and statements for properties in New York and Puerto Rico, and files detailing two painting by Malcom Morley that were stolen from Battcock's residence.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
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:
Gregory Battcock Papers, 1952-circa 1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Correspondence and writings compiled by Edwin Ullman relating to collector and dealer Galka Scheyer. Correspondence includes three letters between Galka Scheyer and Harold Percy Ullman regarding the sale of art work. Also included is a facsimile of a letter to Scheyer from Lyonel Feininger ("Papileo"). Writings include notes for a lecture about Scheyer given by archivist Lette Valeska at the Pasadena Art Museum, 1964 and a typescript draft of reminiscences of Scheyer, written by Jane Ullman, Ullman's wife, 1972, at the request of Robert Haas, University of California, Los Angeles.
Biographical / Historical:
Harold Percy Ullman, Edwin Ullman's father, was executor of Galka Scheyer's estate.
Provenance:
Donated 2016 by Edwin Ullman, Harold Percy Ullman's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Use of original papers requires an appointment and is limited to the Washington D.C. research center. Use of 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:
Louis Pomerantz papers, 1937-1988, bulk 1950s-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection is provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Jay DeFeo papers, circa 1940s-1970s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
Series consists of DeFeo's correspondence with friends, colleagues, art curators, museums, and galleries. Letters and cards to and from friends include discussions of life in San Francisco, personal challenges, and references to DeFeo's artwork.
Of note is correspondence with Bruce Conner documenting his assistance in helping to oversee conservation of The Rose, and other logistical and financial matters related to the work. DeFeo's exchanges with Conner document in some detail her feelings about the showing of the painting in Pasadena, and indicate the extent to which she was drained by the experience. They also reveal her complex feelings about the restoration of the work, and how it represents for her an attempt to "perpetuate the myth of the Rose." One letter from October 1972 refers to what may be lost archival material: "all documentary material prior to last year...however coloful in this comedy of errors, has been simply to [sic] painful to save." She also mentions how her teaching job brings much needed income, and how satisfying she is finding her explorations in photography. The correspondence with Conner is complemented by correspondence with the San Francisco Museum of Art and the Pasadena Art Museum which further document restoration and exhibition of The Rose.
Also found are scattered letters and photo collage postcards from Wallace Berman and Dean Stockwell to DeFeo. Other artists, galleries, and art curators represented in the collection include Frank Lobdell, Fred Martin, Michael McClure, Dorothy Miller, Margaret Peterson, Deborah Remington, Eleanor (Nell) Sinton, and Ruth Terrill. One letter to Irving Blum of Ferus Gallery expresses DeFeo's frustration that her inquiries to Blum have being ignored, and references her precarious financial situation and her hope that her work could represent a source of income. One letter to David Simpson provides insight into DeFeo's separation from Hedrick, her attempts to build a new life for herself, and reflections on their relationship.
Arrangement:
Some of the letters are missing pages. There are also some empty envelopes with no clear indication of which letters, if any, the envelopes belong to. Names of many of the correspondentes have been provided in the container list to facilitate access, but in many cases there are 3-5 or less items per correspondent.
Collection 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.
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:
Jay DeFeo papers, circa 1940s-1970s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
The Irving Blum Gallery and Ferus Gallery announcements consist of 32 announcements for exhibitions at the Los Angeles Ferus Gallery (1957-1966) and its successor the Irving Blum Gallery (1966-circa 1972). Exhibition announcements are for many exhibitions of southern California contemporary and pop artists, as well as New York artists. Artists represented by announcements include John Altoon, Don Bachardy, Larry Bell, Billy Al Bengston, Robert Irwin, Jasper Johns, Donald Judd, Craig Kauffman, Roy Lichtenstein, Edward Moses, Kenneth Noland, Ad Reinhardt, Ed Ruscha, Frank Stella, and Andy Warhol, among others.
Scope and Content Note:
The Irving Blum Gallery and Ferus Gallery announcements consist of 32 announcements for exhibitions at the Los Angeles Ferus Gallery (1957-1966) and its successor the Irving Blum Gallery (1966-circa 1972). Exhibition announcements are for many exhibitions of southern California contemporary and pop artists, as well as New York artists. Artists represented by announcements include John Altoon, Don Bachardy, Larry Bell, Billy Al Bengston, Robert Irwin, Jasper Johns, Donald Judd, Craig Kauffman, Roy Lichtenstein, Edward Moses, Kenneth Noland, Ad Reinhardt, Ed Ruscha, Frank Stella, and Andy Warhol, among others.
Although these announcements are scattered, they provide insight to and documentation of the southern California LA art scene and the Beat era. The exhibition announcements themselves are quite unique.
Arrangement:
The collection is arranged as 2 series:
Missing Title
Series 1: Ferus Gallery Announcements, 1961-1965 (Box 1; 20 folders)
In 1957, Walter Hopps (1932-2005) and Edward Kienholz (1927-1994) opened the contemporary art Ferus Gallery on North La Cienega Boulevard in Los Angeles, California. Kienholz sold his share to Irving Blum (b. 1930) one year later. Hopps left in 1962 to become curator and, later, director of the Pasadena Art Museum. Ferus Gallery closed in 1966 and Irving Blum maintained sole ownership and changed the gallery's name to Irving Blum Gallery.
Ferus Gallery was the first gallery in the Los Angeles area to show contemporary American art, and focused heavily on contemporary Southern California artists, such as John Altoon, Larry Bell, Billy Al Bengston, Wallace Berman, Robert Irwin, Craig Kauffman, Ed Kienholz, Ed Moses, Richard Ruben, among many others. Likewise, Ferus Gallery helped to solidify the reputations of many established New York artists, including Roy Lichtenstein, Jasper Johns, Frank Stella, Richard Diebenkorn, Andy Warhol, and others.
The inaugural exhibition at the Ferus Gallery was "Objects on the New Landscape Demanding of the Eye" (March 15 - April 11, 1957), a group show including the work of Frank Lobdell, Jay DeFeo, Craig Kauffman, Richard Diebenkorn, John Altoon and Clyfford Still. Los Angeles artists who had their first solo shows at the gallery included: Wallace Berman (1957), Billy Al Bengston (1958), Ed Moses (1958), Robert Irwin (1959), John Mason (1959), Kenneth Price (1960), Llyn Foulkes (1962), Larry Bell (1962) and Ed Ruscha (1963).
In 1957 the gallery was temporarily closed after LAPD officers arrested and charged Wallace Berman with obscenity over work in his exhibition. It was his first and last solo show.
In 1962 "Andy Warhol: Campbell's Soup Cans" was Andy Warhol's first solo pop art exhibition and the first exhibition of the Soup Cans. Five of the canvases sold for $100 each, but Blum bought them back to keep the set intact.
Irving Blum designed many of the exhibition announcements for the gallery with a graphic aesthetic.
In 2007, "The Cool School" was released, a documentary film about the Ferus Gallery and its eccentric artists.
Related Material:
Also found at the Archives of American Art is an oral history interview with Irving Blum conducted by Paul Cummings on May 31-June 23, 1977.
Provenance:
Mrs. Rochella Orchard donated the Ferus Gallery and Irving Blum Gallery announcements on February 22, 1979.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
Function:
Art galleries, Commercial -- California
Citation:
Irving Blum Gallery and Ferus Gallery and announcements, 1961-1972. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
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:
Leroy Ireland research material on George Inness, 1916-2007, bulk 1960-1971. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Rosamund Felsen Gallery records, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Rosamund Felsen Gallery records, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
