Search Results

Creator:

Cajori, Charles, 1921-  Search this

Names:

American University (Washington, D.C.)  Search this

Bertha Schaefer Gallery (New York, N.Y.)  Search this

Colorado Springs Fine Arts Center  Search this

Cooper Union for the Advancement of Science and Art  Search this

David Findlay Galleries (New York, N.Y.)  Search this

Gallery Association of New York State  Search this

Lohin Geduld Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New York Studio School of Drawing, Painting and Sculpture  Search this

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

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

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

University of California, Berkeley  Search this

Watkins Art Gallery (American University)  Search this

Whitney Museum of American Art  Search this

Adams, Pat, 1928-  Search this

Bell, Leland  Search this

Chaet, Bernard  Search this

Cézanne, Paul, 1839-1906  Search this

Dodd, Lois, 1927-  Search this

Finkelstein, Louis  Search this

Forge, Andrew  Search this

Gray, Cleve  Search this

Ippolito, Angelo  Search this

King, William, 1925-2015  Search this

Matter, Mercedes  Search this

Pearlstein, Philip, 1924-  Search this

Simon, Sidney, 1917-1997  Search this

Soutine, Chaim, 1893-1943  Search this

Extent:

5.8 Linear feet

0.07 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sound recordings

Interviews

Video recordings

Transcripts

Date:

1942-2011

Summary:

The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions, one digitized, on art and artists; and printed materials.

Scope and Content Note:

The papers of New York painter, Charles Cajori measure 5.8 linear feet and 0.070 GB and date from 1942-2011. The collection documents Cajori's activities as a painter, educator, and co-founder of the Tanager Gallery that was located on the Lower East Side in New York through correspondence; writings and notes; interviews, talks, and panel discussions on art and artists; and printed materials.

Correspondence is personal and professional and consists of mostly incoming letters to Cajori from artists, friends, family, art historians, and academic institutions. There are a few letters from Charles Cajori, including draft of his letters. Among the correspondents are Pat Adams, Leland Bell, Bernard Chaet, Cooper Union, Cleve Gray, Louis Finkelstein, Philip Pearlstein, Sidney Simon, Norman Turner, and the University of California at Berkeley. Of interest, are letters from the founders of the Tanager Gallery, such as Lois Dodd, Angelo Ippolito, and William King. Correspondence also documents Cajori's dealings with galleries and museums as well as his involvement in arts organizations; included are letters from American University, Watkins Gallery; Bertha Schaffer Gallery; Colorado Springs Fine Arts Center; Gallery Association of New York; Museum of Modern Art; Roko Gallery; Stable Gallery; and the Whitney Museum of American Art.

Writings and notes are and about Charles Cajori. Cajori's writings include drafts on painting and drawing that Cajori prepared for classroom lectures and panel discussions; essays on Paul Cézanne and Chaim Soutine; and his account of the founding of the Tanager Gallery. Cajori's writings also include a biographical account and an artist's statement. There are writings by Louis Finkelstein, Andrew Forge, and Mercedes Matter about Cajori's work. Included are several guest registers for Cajori's exhibitions at the David Findlay Gallery, Lohin Geduld Gallery, and the New York Studio School.

Interviews, talks, and panel discussions include a transcript of an interview with Charles Cajori, audiotaped and videotaped interviews with Charles Cajori, and panel discussions with Cajori and others. Panel discussions with Cajori and others cover such topics as the New York school artists and Chaim Soutine. Many of recordings focus on Cajori's association with the Tanager Gallery, the art scene in New York during the 1950s, and his reflections on art. Also included are miscellaneous videotaped recordings. One panel discussion is digitized.

Printed material contains exhibition catalogs, checklists, announcements, invitations, press releases, clippings, reviews, brochures, and miscellaneous printed material. A file of printed materials on the Tanager Gallery includes exhibition catalogs and clippings.

Arrangement:

The collection is arranged as 4 series:

Series 1: Correspondence, 1942-2011 (Boxes 1-2; 1.1 linear feet)

Series 2: Writings and Notes, 1949-2010 (Box 2; 0.3 linear feet)

Series 3: Interviews, Talks, and Panel Discussions, 1983-2010 (Boxes 2-3; 1.2 linear feet, ER01; 0.070 GB)

Series 4: Printed Material, circa 1950s-2010 (Boxes 3-4; 1.4 linear feet)

Biographical Note:

Painter and teacher Charles Cajori (b. 1921-) has worked in New York City and Connecticut.

Born in Palo Alto, California in 1921, Charles Cajori studied painting at Colorado College and the Cleveland Art School. Cajori served in the United States Air Force during World War II. Upon his return, he attended Columbia University and then spent two years at the Skowhegan School of Painting and Sculpture, where he became acquainted with Franz Kline, Willem de Kooning, and other Abstract Expressionist artists.

Charles Cajori was one of the founding members of the Tanager Gallery, an early artists' cooperative gallery, originally located at 90 East Tenth Street in New York, which provided a venue for contemporary artists to exhibit their work. In 1956, Charles Cajori had his first solo exhibition at the Tanager Gallery and since then, has been continuously showing his work in numerous solo and group exhibitions in the United States and abroad including American University, Bertha Schaeffer Gallery, David Findlay Jr. Gallery, El Museo de Bellas Artes de Caracas, Ingber Gallery, Lohin Geduld Gallery, Mattatuck Museum, New Arts Gallery, Paesaggio Gallery, Sala di Esposizione della Biblioteca Americana, Stable Gallery, and the Whitney Museum of American Art. Charles Cajori's work is represented in a number of public and private collections including the Ciba-Geigy Corporation, the Metropolitan Museum of Art, the National Academy of Design, Walker Art Center, and the Weatherspoon Museum.

In conjunction with his activities as an artist, Charles Cajori has taught painting and drawing at major academic institutions and art schools: Colorado Springs Fine Arts Center, Cooper Union, Cornell University, and the University of California at Berkeley. Cajori was a co-founder of the New York Studio School, where he continues to serve on the faculty.

Charles Cajori has received many honors for his work including the 1959 Distinction in the Arts, Yale University; Benjamin Altman, Figure Prize at the National Academy, 1983, 1987; the Childe Hassam Purchase Award by the Institute of Art and Letters Award, 1975-1976, 1980; and the Louis Comfort Tiffany Award, 1979. Also, Cajori was awarded a Fulbright grant to Italy, 1952-1953 and a grant from the National Endowment for the Arts in 1981.

Charles Cajori is married to the painter Barbara Grossman and they live in Watertown, Connecticut.

Provenance:

The collection was donated by Charles Cajori in 2011.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Topic:

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

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

Genre/Form:

Photographs

Sound recordings

Interviews

Video recordings

Transcripts

Citation:

Charles Cajori papers, 1942-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cajochar

See more items in:

Charles Cajori papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cajochar

Creator:

Wechsler, Judith  Search this

Names:

Museum at Large Ltd.  Search this

Universal Limited Art Editions (Firm)  Search this

Adams, Ansel, 1902-1984  Search this

Albers, Josef  Search this

Cage, John, 1912-1992  Search this

Callahan, Harry M.  Search this

Cohen, John, 1932-2019  Search this

Falkenberg, Paul  Search this

Hockney, David  Search this

Hopps, Walter  Search this

Johns, Jasper, 1930-  Search this

Menil, Dominique de  Search this

Meyerowitz, Joel, 1938-  Search this

Namuth, Hans  Search this

Pearlstein, Philip, 1924-  Search this

Siskind, Aaron  Search this

Steichen, Edward, 1879-1973  Search this

Stella, Frank  Search this

Stieglitz, Alfred, 1864-1946  Search this

Extent:

17.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Motion pictures (visual works)

Sound recordings

Date:

circa 1940-2003

bulk 1971-1994

Summary:

The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.

Scope and Contents:

The papers of filmmaker and art historian Judith Wechsler measure 17.4 linear feet and consist of film production material from several of Wechsler's documentary films released between 1989 and 1994. Most of the collection consists of sound recordings and motion picture film. Notable content includes interviews with Jasper Johns, Frank Stella, David Hockney, Philip Pearlstein, Joel Meyerowitz, Jo Spence, Yolanda Sonnabend, Dominique de Menil, Walter Hopps, Aaron Siskind, and Harry Callahan, as well as footage of artists working in their studios. Production elements found include original sound recordings, original camera negative outtakes, work print picture and soundtrack, trims, various pre-print master material, and video copies of completed works.

Documentaries with production material in the collection include Jasper Johns: Take An Object, produced with Hans Namuth, Harry Callahan (1994), Aaron Siskind: Making Pictures (1991), and five episodes of The Painter's World: Changing Constants of Art from the Renaissance to the Present (1989), a six-part television series produced by WGBH in Boston. Episodes of the series for which records are found include "The Training of Painters," "The Arrested Moment," "Portraits," "Abstraction," and "Painting and the Public". Also found are two reels of soundtrack labeled "Two Photographers," a title for which no other documentation is found.

The Painter's World episodes "Abstraction," "The Arrested Moment," and "Portraits" address the evolution of painting style and traditions, and the "Painting and the Public" episode addresses the role of patronage and the evolution of art museums. Footage found for "The Training of Painters" consists of footage of Josef Albers teaching at Yale University shot around 1955, likely shot by John Cohen.

Jasper Johns: Take An Object was a collaborative project between Wechsler, Hans Namuth, and Paul Falkenberg, who worked together under the corporate name of Museum at Large. Footage consists of multiple interviews with Johns, a 1971 session of Johns working in his Houston Street studio, and a 1989 session of Johns working at Universal Limited Art Editions, as well as additional material of John Cage and others speaking about Johns' work.

In Harry Callahan, Callahan discusses the inspiration behind his work and recollects about his time with Ansel Adams, Alfred Stieglitz, Edward Steichen, and Aaron Siskind. For Aaron Siskind: Making Pictures, Siskind covers the beginning of his career, and the inspiration and methods behind his work. The "Two Photographers" content and relationship to the collection is unknown.

Arrangement:

The collection is arranged as 5 series.

Series 1: -- The Painters World: Changing Constants of Art from the Renaissance to the Present -- Production Records, 1985-1989 (5.5 linear feet; Boxes 1, 3-6, 15, 20)

Series 2: -- Jasper Johns: Take an Object -- Production Records, 1971-1972, 1989-1990 (5.9 linear feet, Boxes 2, 7-11, 20-24)

Series 3: -- Aaron Siskind: Making Pictures -- Production Records, 1990-2003 (2.5 linear feet; Boxes 2, 11-12, 16-18, 21)

Series 4: -- Harry Callahan -- Production Records, 1992-1994 (3.3 linear feet; Boxes 2, 12-14, 18-19, 21)

Series 5: Unidentified Program Material, circa 1940-1994 (0.3 linear feet; Boxes 2, 14, FC 147)

Biographical / Historical:

Judith Wechsler is an art historian, professor, and filmmaker. Wechsler studied at Brandeis University, Columbia University, and earned her Ph.D. at Univeristy of California, Los Angeles in 1972. She published On Aesthetics in Science in 1978 and A Human Comedy: Physiognomy and Human Caricature in 19th Century Paris, focusing on the work of Honoré Daumier, in 1982. She edited the memoirs of her father, literary scholar Nahum N. Glatzer, published in 1998, and has published dozens of articles, reviews, and catalog essays for American and European institutions and publications.

She has taught at Brown University, Harvard University, Massachusetts Institute of Technology, Hebrew University, and Rhode Island School of Design and joined the faculty at Tufts University in 1989, where she remained until her retirement in 2011.

Wechsler first worked on films with designer Charles Eames, co-directing films on her early scholarly subjects, Daumier and Cézanne. In the mid-1980s, she wrote and directed a series of art documentaries for television with the series title The Painter's World: Changing Constants of Art from the Renaissance to the Present. Since that time, Wechsler has directed dozens of films, primarily on artists and photographers, and in recent years has focused on the history of ideas in early twentieth century Europe, with films on Nahum Glatzer, Walter Benjamin, Aby Warburg, and Svetlana Boym.

Wechsler received a Chevalier dans l'Ordre des Arts et des Lettres from the French government in 2007, and became professor emerita at Tufts in 2011. She lives and works in Massachusetts.

Related Materials:

Release prints of each of the titles represented in the collection are held by the Harvard Film Archive. Digital video copies of edited films are available on Judith Wechsler's website (http://www.judithwechsler.com/films, accessed 2017).

Provenance:

Donated 2008, 2017, and 2019 by Judith Wechsler.

Restrictions:

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

Rights:

The Painter's World: Copyright retained by Judith Wechsler.

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 -- Massachusetts -- Boston  Search this

Topic:

Art patronage  Search this

Art museums  Search this

Artists -- United States  Search this

Filmmakers--Massachusetts--Boston  Search this

Genre/Form:

Interviews

Motion pictures (visual works)

Sound recordings

Citation:

Judith Wechsler papers, 1940-2003, bulk 1971-1994. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.wechjudi

See more items in:

Judith Wechsler papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-wechjudi

Interviewee:

Adrian, Dennis, 1937-  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Akron Art Museum  Search this

Art Institute of Chicago  Search this

Chicago Art and Artists: Oral History Project  Search this

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Madison Art Center  Search this

Museum of Contemporary Art (Chicago, Ill.)  Search this

New York University  Search this

Portland Art Museum (Or.)  Search this

University of Chicago -- Students  Search this

Acconci, Vito, 1940-  Search this

Achilles, Rolf  Search this

Alloway, Lawrence, 1926-1990  Search this

Anderson, Jeremy, 1921-1982  Search this

Artner, Alan G.  Search this

Barnes, Robert, 1934-  Search this

Baum, Don, 1922-  Search this

Brown, Roger, 1941-1997  Search this

Carlson, Victor I.  Search this

Castelli, Leo  Search this

Conner, Bruce, 1933-2008  Search this

Coplans, John  Search this

Cornell, Joseph  Search this

Coronado, Francisco Vásquez de, 1510-1554  Search this

Dubuffet  Search this

Florsheim, Lillian H.  Search this

Frumkin, Allan  Search this

Garver, Thomas H.  Search this

Golub, Leon, 1922-2004  Search this

Guston, Philip, 1913-1980  Search this

Hanson, Philip, 1943-  Search this

Hoffman, Rhona, 1934-  Search this

Ito, Miyoko, 1918-1983  Search this

Kind, Phyllis, 1933-2018  Search this

Leaf, June, 1929-  Search this

Lee, Sherman E.  Search this

Maxon, John, 1916-  Search this

Mies van der Rohe, Ludwig, 1886-1969  Search this

Newman, Muriel Kallis Steinberg  Search this

Nicholson, Natasha, 1945-  Search this

Parker, Dorothy, 1893-1967  Search this

Pearlstein, Philip, 1924-  Search this

Petlin, Irving, 1934-2018  Search this

Ramberg, Christina  Search this

Rossi, Barbara, 1940-  Search this

Schulze, Franz, 1927-2019  Search this

Sleigh, Sylvia  Search this

Spero, Nancy, 1926-2009  Search this

Swinton, Tilda  Search this

Voulkos, Peter, 1924-2002  Search this

Warhol, Andy, 1928-1987  Search this

Westermann, H. C. (Horace Clifford), 1922-  Search this

Wilde, Oscar, 1854-1900  Search this

Wiles, Bertha Harris, 1896-  Search this

Extent:

4 Items (Sound recording: 4 sound files (4 hr., 18 min.), digital, wav)

173 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2015 October 8-9

Scope and Contents:

An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.

Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.

Biographical / Historical:

Dennis Adrian (1937- ) is an art critic, educator, and curator in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

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:

Art critics -- Illinois -- Chicago -- Interviews  Search this

Topic:

Art, American -- Illinois -- Chicago  Search this

Art -- Collectors and collecting  Search this

Art -- History  Search this

Art -- Study and teaching  Search this

Art thefts -- Europe  Search this

Curators -- Illinois -- Chicago -- Interviews  Search this

Educators -- Illinois -- Chicago -- Interviews  Search this

Homosexuality  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.adrian15

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-adrian15

Creator:

Nochlin, Linda  Search this

Names:

Courbet, Gustave, 1819-1877  Search this

Lajer-Burcharth, Ewa  Search this

Mitchell, Joan, 1926-1992  Search this

Pearlstein, Philip, 1924-  Search this

Zuka  Search this

Extent:

31.2 Linear feet

3.9 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Sketchbooks

Sound recordings

Video recordings

Diaries

Date:

circa 1876

1937-2017

Summary:

The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.9 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.

Scope and Contents:

The papers of feminist art historian and educator Linda Nochlin measure 31.2 linear feet and 3.9 gigabytes and date from circa 1876, 1937 to 2017. The collection is comprised of biographical materials; date books and notebooks; correspondence; writing project files that include material on Gustave Courbet and realism, bathers and the body, essays and lectures on 19th century art among other topics, artists, and smaller writing projects; professional files containing material on conferences and fellowships; teaching files detailing courses taught by Nochlin at New York University Institute of Fine Arts and other institutions; printed materials; artwork; and photographic materials that document Nochlin and her relationships with family, colleagues and friends, and artists.

Biographical materials include two address books; awards and prizes; certificates and diplomas; childhood writings and notes, assignments, and school newsletters; course work at Vassar College and NYU's Institute of Fine Arts; honors; and one sound recording and three transcripts of Nochlin interviews with Alain Veinstein, Dan Karlholm, Jon Weiner, and Moira Roth.

Over 150 date books and notebooks spanning nearly 60 years contain appointments, reminders, travel plans, thoughts on art, journal entries, daily activities, to-do lists, contact information, fiction writing, and other small notations. Correspondence is with family; close colleagues and artists Ewa Lajer-Burcharth, Zuka Mitelberg, Joan Mitchell, and Philip Pearlstein; and professional contacts regarding speaking engagements, publishing projects, exhibitions, artists' work, conferences, and events.

The bulk of the collection documents Nochlin's prolific writing career that includes her lifelong research and work on Gustave Courbet, realism, bathers and the body, as well as numerous essays and lectures, research and writings on artists, and various other writing projects.

Files for professional activities contain material for conferences and symposiums that include 11 sound and video recordings, grants, fellowships, and travel arrangements and expenses. Teaching files consist of documentation for courses taught by Nochlin at New York University Institute of Fine Arts, Vassar College, Yale University, and other academic institutions.

Publications and other printed materials include annotated books, booklets, clippings, exhibition catalogs, journals and magazines, newsletters, offprints, five video recordings of broadcasts and documentary material, flyers, invitations, posters, and postcards. Artwork includes sketches in ink, charcoal, paint, and pencil created during Nochlin's childhood into her early 20s, along with artwork by children, and one video art recording by Zoulikha Bouabdellah.

Photographs and negatives are of Nochlin with artists Nancy Graves, Sebastian Horsley, and Shirley Jaffe; childhood classmates; friends and colleagues; students; and travels to Europe. Also included are photographs of works of art, personal photographs of family members, and portraits and snapshots of Nochlin.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Materials, circa 1940-2012 (1.0 linear feet; Box 1, OV 35 / 0.003 GB; ER01-ER03)

Series 2: Datebooks and Notebooks, 1959-2017 (2.5 linear feet; Boxes 2-5, OV 35 / 0.001 GB; ER004)

Series 3: Correspondence, 1946-2014 (2.0 linear feet; Boxes 5-7, OV 35 / 0.158 GB; ER005-ER011)

Series 4: Writing Project Files, circa 1876, 1953-2016 (17.0 linear feet; Boxes 7-21, 30-31, 33-34, OVs 36-37 / 3.72 GB; ER012-ER102)

Series 5: Professional Files, 1957-2012 (1.0 linear feet; Boxes 22-23 / 0.001 GB; ER103)

Series 6: Teaching Files, 1953-2012 (2.5 linear feet; Boxes 23-25, OV 36 / 0.016 GB; ER104-ER119)

Series 7: Printed Materials, 1939-2017 (3.0 linear feet; Boxes 26-28, 32, 34, OVs 39-40)

Series 8: Artwork, circa 1940-2004 (1.0 linear feet; Boxes 28, 34, OV 38)

Series 9: Photographic Materials, circa 1935-circa 2010 (1.0 linear feet; Boxes 28-29, 34)

Biographical / Historical:

Linda Nochlin (1931-2017) was a feminist art historian and professor at New York University Institute of Fine Arts in New York, New York. She is widely known for her essay first published in 1971, "Why Have There Been No Great Women Artists?," that explored the institutional systems in place for analyzing art history and their impacts on women artists. In 1976, Nochlin co-curated Women Artists: 1550-1950 alongside Ann Sutherland Harris at the Los Angeles County Museum of Art, and in 2007 she co-curated with Maura Reilly the Global Feminisms Exhibition at the Brooklyn Museum. Both exhibitions are considered landmark exhibitions of women artists.

Nochlin was born in Brooklyn, New York. She attended the Brooklyn Ethical Culture School and Midwood High School before enrolling in Vassar College where she majored in philosophy with minors in Greek and art history. After graduating in 1951, she went on to earn a master's degree in English from Columbia University in 1952. In 1963, she earned her PhD in art history from the Institute of Fine Arts. Nochlin's PhD dissertation, "Gustave Courbet: A Study of Style and Society," marked the beginning of her lifelong study of the 19th-Century French artist Gustave Courbet.

Nochlin taught at Yale University, the Graduate Center at the City University of New York, and Vassar College. She was also a visiting professor at Columbia University, Hunter College, Stanford University, Williams College, and Yale University, and later became the Lila Acheson Wallace Professor Emerita of Modern Art at the Institute of Fine Arts.

Nochlin authored numerous art history books including Realism (1971), The Politics of Vision: Essays on Nineteenth-Century Art and Society (1989), Representing Women (1999), The Body in Pieces: The Fragment as a Metaphor of Modernity (1994), Bathers, Bodies, Beauty: The Visceral Eye (2006), Courbet (2007), and Misère: The Visual Representation of Misery in the 19th Century (2018).

Related Materials:

Also found at the Archives of American Art is an oral history interview of Linda Nochlin conducted on June 9-30, 2010 by James McElhinney, for the Archives of American Art's Oral History of Women in the Visual Arts project at Nochlin's home in New York, N.Y.

Provenance:

The collection was donated in 2018 by Daisy Pommer, Linda Nochlin's daughter.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

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

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

Topic:

Feminists  Search this

Women art historians  Search this

Realism  Search this

Women artists  Search this

Genre/Form:

Interviews

Sketchbooks

Sound recordings

Video recordings

Diaries

Citation:

Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.

Identifier:

AAA.nochlind

See more items in:

Linda Nochlin papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-nochlind

Creator:

Pearlstein, Philip, 1924-  Search this

Subject:

Barnet, Will  Search this

Blaine, Michael  Search this

Cantor, Dorothy  Search this

Close, Chuck  Search this

Downes, Rackstraw  Search this

Dückers, Alexander  Search this

Field, Richard  Search this

Haas, Richard  Search this

Hampleman, Jean  Search this

Levine, Jack  Search this

Kelly, W. J.  Search this

McCarthy, David, 1960-  Search this

Shaman, Sanford Sivitz  Search this

Storr, Robert  Search this

Tamburini, Fernando  Search this

Tsao, Vivian  Search this

Updike, John  Search this

Viola, Jerome  Search this

Wallin, Leland  Search this

Ward, John  Search this

Warhol, Andy  Search this

Witkin, Jerome  Search this

Yezzi, David  Search this

WBAI Radio  Search this

WRFM  Search this

Type:

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Topic:

Architecture -- Egypt  Search this

Architecture, Roman  Search this

Art -- Study and teaching  Search this

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

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

Record number:

(DSI-AAA_CollID)8182

(DSI-AAA_SIRISBib)210353

AAA_collcode_pearphil

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210353

Creator:

Tanager Gallery  Search this

Names:

Arnold, Anne, 1926-  Search this

Brooks, James, 1906-1992  Search this

Burkhardt, Rudy  Search this

Cajori, Charles, 1921-  Search this

Cherry, Herman  Search this

Dodd, Lois, 1927-  Search this

Fine, Perle, 1908-1988  Search this

Frankenthaler, Helen, 1928-2011  Search this

Geist, Sidney  Search this

Guston, Philip, 1913-1980  Search this

Hazelet, Sally  Search this

Hofmann, Hans, 1880-1966  Search this

Ippolito, Angelo  Search this

Katz, Alex, 1927-  Search this

King, William, 1925-2015  Search this

Pearlstein, Philip, 1924-  Search this

Rauschenberg, Robert, 1925-2008  Search this

Rivers, Larry, 1925-2002  Search this

Stamos, Theodoros, 1922-1997  Search this

Wesselmann, Tom, 1931-2004  Search this

Extent:

2.6 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Scrapbooks

Photographs

Sketches

Date:

1952-1979

Summary:

The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.

Scope and Content Note:

The records of contemporary New York City Tanager Gallery measure 2.6 linear feet and date from 1952 to 1979. Found are administrative files, financial and legal records including detailed receipt books, scattered correspondence, artists' files for circa 70 artists that include price lists and biographies, two scrapbooks of printed materials, newsclippings, exhibition announcements and other printed materials, and five photographs of openings at the gallery and of the exterior of the building.

Administrative files include four day books, lists of artists and exhibitions, historical sketches, and an address book. There are two ledger books of expenses for shows and four receipt books from 1959-1962 which are organized by date and list artist, and artwork, buyer, and price. Correspondence is arranged chronologically and comprised mainly of copies of letters sent by the Gallery to artists as invitations to exhibit. Also found are scattered letters from museums and artists.

There are artists' files for circa 70 artists that contain a variety of materials, including price lists and biographies or resumes. Artists files are found for Anne Arnold, James Brooks, Charles Cajori, Herman Cherry, Lois Dodd, Sally Hazelet Drummond, Perle Fine, Helen Frankenthaler, Sidney Geist, Philip Guston, Hans Hofmann, Angelo Ippolito, Philip Pealstein, Alex Katz, William King, Robert Rauschenberg, Larry Rivers, Theordore Stamos, and Tom Wesselmann among many others.

The collection includes two scrapbooks containing mostly newsclippings and exhibition announcements, as well as additional loose newsclippings, numerous exhibition announcements and catalogs, and press releases. There are five photographs of gallery openings and the exterior of the building, the latter taken by Rudy Burkhardt.

Arrangement:

The collection is arranged as 7 series:

Series 1: Administrative Files, 1952-1979 (Boxes 1, 4; 0.5 linear feet)

Series 2: Financial and Legal Records, 1952-1962 (Box 1; 0.5 linear feet)

Series 3: Correspondence, 1952-1967 (Boxes 1-2; 0.3 linear feet)

Series 4: Artists Files, circa 1952- circa 1962 (Box 2; 0.1 linear feet)

Series 5: Scrapbooks, circa 1962 (Boxes 2-3; 0.3 linear feet)

Series 6: Printed Material, 1952-1971 (Boxes 2, 4; 0.3 linear feet)

Series 7: Photographs, circa 1952-circa 1959 (Box 2; 2 folders)

Historical Note:

The Tanager Gallery operated from 1952-1962 in New York City. The gallery was one of the first artist cooperative galleries formed on 10th Street in Manhattan to provide an alternative to the larger upscale galleries of Madison Avenue.

In 1952, the artist cooperative Tanager Gallery opened at 90 East 10th Street in Manhattan. Co-founders included Charles Cajori, Lois Dodd, Angelo Ippolito, William King, and Fred Mitchell. The Tanager offered open spaces for young artists to show their work and to sell art on their own terms. Membership at the Tanager included American Realists Alex Katz and Philip Pearlstein, and the Pop art/found-art collagist Tom Wesselmann. Later artists to join the cooperatiive included Mary Abbott, Perle Fine, Sidney Geist, Joseph Groell, Nanno de Groot, Sally Hazelet, Ben Isquith, Lester Johnson, Nicholas Marsicano, George Earl Ortman, Charlotte Park, Philip Pearlstein, Frank Stout, Raymond Rocklin, and Sal Sirugo. From 1952 to 1962, the Tanager Gallery exhibited works from about 250 artists.

The opening of Tanager and other 10th Street galleries was a radical change for the New York arts scene and for emerging New York artists who generally found representation with uptown gallery owners and/or art dealers on 57th Street or Madison Ave. In the 1950s, Manhattan's 10th Street was a gathering place for young artist-bohemians. The galleries were often the centers for anything avant-garde or new, such as art installations, happenings, poetry readings, jazz sessions, and performance art. For example, Tanager Gallery hosted a series of forums with local artists who would discuss their work and objectives.

Tanager Gallery received attention and respect from the more established art galleries and critics in New York, including Dore Ashton, Leo Castelli, Tom Hess, Martha Jackson, and Dorothy Miller. The Tanager Gallery closed in 1962.

Related Material:

Among the holdings of the Archives of American Art are the Lois Dodd papers, 1952-2001 and an oral history interview with Lois Dodd by Barbara Shikler from 1988.

Provenance:

Lois Dodd, co-founder of the Tanager Gallery, donated the Tanager Gallery records in several increments between 1972 and 1989.

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.

Topic:

Art, Abstract -- New York (State) -- New York  Search this

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

Function:

Art galleries, Commercial -- New York (State) -- New York

Genre/Form:

Diaries

Scrapbooks

Photographs

Sketches

Citation:

Tanager Gallery records, 1952-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.tanagall

See more items in:

Tanager Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-tanagall

Creator:

Seckler, Dorothy Gees, 1910-1994  Search this

Names:

Art in America  Search this

Velvet Underground (Musical group)  Search this

Asher, Elise, 1914-  Search this

Avery, Sally  Search this

Beck, Margit, 1915-1997  Search this

Bellow, Saul  Search this

Bultman, Fritz, 1919-1985  Search this

Cale, John  Search this

Cavallon, Giorgio, 1904-1989  Search this

Cohen, Jean  Search this

Cunningham, Merce  Search this

De Diego, Julio, 1900-  Search this

Drexler, Rosalyn  Search this

Flexner, James Thomas, 1908-2003  Search this

Frankenthaler, Helen, 1928-2011  Search this

Freed, William, 1904-  Search this

Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this

Gelb, Jan, 1906-1978  Search this

Gorelick, Shirley, 1924-2000  Search this

Greenwood, Marion, 1909-1970  Search this

Hofmann, Hans, 1880-1966  Search this

Jones, John  Search this

Kahn, Wolf, 1927-  Search this

Karolik, Maxim  Search this

Katz, Alex, 1927-  Search this

Marcus, Marcia, 1928-  Search this

Margo, Boris, 1902-1995  Search this

Martin, Fletcher, 1904-1979  Search this

McLuhan, Marshall, 1911-1980  Search this

Middleman, Raoul F., 1935-  Search this

Motherwell, Robert  Search this

Newman, Barnett, 1905-1970  Search this

Nico, 1938-1988  Search this

Noguchi, Isamu, 1904-1988  Search this

Orlowsky, Lillian, 1914-2004  Search this

Pearlstein, Philip, 1924-  Search this

Refregier, Anton, 1905-  Search this

Rivers, Larry, 1925-2002  Search this

Ross, Alvin, 1920-1975  Search this

Rothschild, Judith  Search this

Saint-Phalle, Niki de, 1930-  Search this

Segal, George, 1924-2000  Search this

Shahn, Ben, 1898-1969  Search this

Tinguely, Jean, 1925-  Search this

Ustinov, Peter  Search this

Warhol, Andy, 1928-  Search this

Whyte, William Hollingsworth  Search this

Wyeth, Andrew, 1917-2009  Search this

Extent:

1.6 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Interviews

Date:

1962-1976

Summary:

The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 17 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.

Scope and Contents:

The Dorothy Gees Seckler collection of sound recordings relating to art and artists measures 1.6 linear feet and dates from 1962 to 1976. Recordings include 20 interviews conducted by Seckler, one interview by John Jones, and 17 additional recordings of mostly contemporary art-related programs and interviews taped from radio and television broadcasts. Recordings are on 26 sound cassettes and 25 sound tape reels.

Interviews with Artists consist of 17 interviews by Dorothy Seckler with artists including Elise Asher, Fritz Bultman, Judith Rothschild, Giorgio Cavallon, Marcia Marcus, Jean Cohen, William Freed, Lillian Orlowsky, Shirley Gorelick, Hans Hofmann, Wolf Kahn, Raoul Middleman, Robert Motherwell, Helen Frankenthaler, Olin Orr, Larry Rivers, Alvin Ross, George Segal, Jean Tinguely, and Niki de Saint Phalle. Several interviews are with two subjects at once. Many of these interviews were conducted in Provincetown, Massachusetts, and are referenced in her introduction to the catalog for the exhibition Provincetown Painters, 1890's – 1970's held at the Everson Museum and the Provincetown Art Association in 1977, and several interviews were conducted as research for articles Seckler wrote and published in Art in America. Also found are group interviews on specific subjects, including an interview with Julio de Diego, Marion Greenwood, Fletcher Martin, and Anton Refregier on the Woodstock art colony, and with Sally Avery, Boris Margo, Jan Gelb, Margit Beck and others on Op Art. In September of 1966, Seckler recorded some of Andy Warhol's Exploding Plastic Inevitable in Provincetown, which includes a performance by Nico and the Velvet Underground, as well as an interview with one of the band's members, John Cale. A single interview conducted by John Jones of George Segal appears to have been copied by Seckler to prepare for her April 1966 interview of Segal.

Broadcast materials include sound recordings of television and radio broadcast programs taped off the air presumably by Seckler. Most programs are interviews, with subjects including Maxim Karolik, James Thomas Flexner, R. Buckminster Fuller, Merce Cunningham, Alex Katz, Phillip Pearlstein, Roslyn Drexler, Barnet Newman, Saul Bellow, Ben Shahn, Marshall McLuhan, Isamu Noguchi, Andrew Wyeth, and William H Whyte. Other recordings include documentary programs related to contemporary art, book reviews, and a comedy performance with actor Peter Ustinov.

Photographs include 12 color slides from October of 1967 that appear to have been shot in Provincetown, Mass. Subjects include Dorothy Seckler and two other unidentified women.

Arrangement:

This collection is arranged in 3 series.

Series 1: Interviews with Artists, 1962-1976 (1 linear foot; Box 1)

Series 2: Broadcast Materials, 1962-1972 (0.8 linear feet; Boxes 2-3)

Series 3: Photographs, 1967 (1 folder; Box 3)

Biographical / Historical:

Dorothy Gees Seckler was an art historian, critic, journalist, and artist active in New York City and Provincetown, Mass. Born Dorothy Elizabeth Gees in Baltimore, MD in 1910, she completed the program in Advertising Design at Maryland Institute College of Art in 1931 and was awarded a traveling scholarship upon graduation, which she used to study in Europe. She later received a masters degree from Columbia University in Art History and Art Education, and worked during World War II as head of an illustration unit in the Army's Judge Advocate General's office.

After the war, she worked at the Museum of Modern Art as an art historian in the education office until 1950, when she began writing for ARTnews magazine, reviewing New York gallery shows for its "Gallery Notes" section, and exploring painters' processes in the "Paints a Picture" series. She later served as contributing editor for Art in America from the late 1950s through the late 1960s, where her published work included features on Robert Rauschenberg and Louise Nevelson, as well as broad surveys of contemporary art such as "A Folklore of the Banal" (Winter 1962) and "Audience is His Medium" (February 1963). She taught at New York University and City College of New York, and wrote a long essay on the history of the Provincetown's art colony, published in Art in America in 1959, and later updated for the catalog for the 1977 exhibition Provincetown Painters, 1890's - 1970's. Between 1962 and 1968, she conducted thirty oral history interviews for the Archives of American Art and served as one of its manuscript collectors.

Throughout her career as a writer and critic, Seckler painted and worked in collage, and her work was shown in several Provincetown galleries, and in the Provincetown Art Center and Museum. She married Jerome Seckler in 1937 and they had one son. Seckler received the American Federation of Arts Award for outstanding writing in the field of American Art in 1952. She died in 1994.

Related Materials:

Other related materials in the Archives' collections include several additional interviews conducted by Seckler for its oral history program, a full recording and transcript of the August 28, 1963 symposium on pop art, for which brief sound notes are found in this collection, and a transcript of the John Jones interview with George Segal in the John Jones interviews with artists collection, 1965 Oct. 5-1965 Nov. 12.

Separated Materials:

In 2012, several duplicates of recordings Seckler made for the Archives of American Art's oral history program were removed from the collection including: Peter and Riva Dechar (1965 and 1967), David von Schlegell (1967), Joan Mitchell (1965), Theresa Schwartz (1965), Paul Burlin (1962), Ibram Lassaw (1964), Jack Tworkov (1962), Allan Kaprow (1968), Edwin Dickinson (1962), Nathan Halper (1963), Louise Nevelson (1964-1965), Karl Knaths (1962), and Stephen Greene (1968). Joan Mitchell's 1965 oral history interview remains with the Seckler collection because reel 2 of this recording also contains a discussion of optical art that belongs in the Seckler collection. The oral history interview has been digitized and is available through the Archives' oral history program.

Provenance:

The bulk of the collection, including the interviews with the Provincetown artists, was donated 1995 by Don Seckler, son of Dorothy Seckler. The source of acquisition for the Seckler interviews with the Woodstock artists is unknown.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

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

Occupation:

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

Topic:

Optical art  Search this

Genre/Form:

Sound recordings

Interviews

Citation:

Dorothy Gees Seckler collection of sound recordings relating to art and artists, 1962-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the transcription of Seckler's interviews with Provincetown artists was provided by the Shirley Gorelick Foundation in 2014.

Identifier:

AAA.seckdoro

See more items in:

Dorothy Gees Seckler Collection of Sound Recordings Relating to Art and Artists

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-seckdoro

Creator:

Seroka, Lenore  Search this

Names:

Andrews, Benny, 1930-2006  Search this

Artschwager, Richard, 1923-2013  Search this

Bearden, Romare, 1911-1988  Search this

Bishop, Isabel, 1902-1988  Search this

Bourgeois, Louise, 1911-2010  Search this

Cavallon, Giorgio, 1904-1989  Search this

Chamberlain, John, 1927-2011  Search this

Christo, 1935-  Search this

Close, Chuck, 1940-  Search this

De Creeft, José, 1884-1982  Search this

Estes, Richard, 1932-  Search this

Ferber, Herbert, 1906-1991  Search this

Flavin, Dan, 1933-  Search this

Freilicher, Jane, 1924-  Search this

Gikow, Ruth, 1915-1982  Search this

Golub, Leon, 1922-2004  Search this

Goodhough, Robert, 1917-  Search this

Goulet, Lorrie, 1925-  Search this

Graves, Nancy Stevenson, 1940-1995  Search this

Greene, Balcomb, 1904-1990  Search this

Gwathmey, Robert, 1903-1988  Search this

Hirsch, Joseph, 1910-1981  Search this

Hirschfeld, Al  Search this

Johnson, Ray, 1927-1995  Search this

Katz, Alex, 1927-  Search this

Krasner, Lee, 1908-1984  Search this

Lassaw, Ibram, 1913-2003  Search this

Levine, David, 1926-2009  Search this

Levine, Jack, 1915-2010  Search this

Lichtenstein, Roy, 1923-1997  Search this

Lipton, Seymour, 1903-1986  Search this

Neel, Alice, 1900-1984  Search this

Nesbitt, Lowell, 1933-1993  Search this

Pearlstein, Philip, 1924-  Search this

Resika, Paul  Search this

Rivers, Larry, 1925-2002  Search this

Rockburne, Dorothea  Search this

Rosenquist, James, 1933-  Search this

Segal, George, 1924-2000  Search this

Snelson, Kenneth, 1927-2016  Search this

Solman, Joseph, 1909-2008  Search this

Soyer, Raphael, 1899-1987  Search this

Wesselmann, Tom, 1931-2004  Search this

Youngerman, Jack, 1926-2020  Search this

Extent:

0.3 Linear feet ((51 items))

Type:

Collection descriptions

Archival materials

Date:

1977-1984

Scope and Contents:

Photographs of artists taken by Seroka.

Biographical / Historical:

Photographer; Great Neck, N.Y.

Provenance:

Donated 1984 by Lenore Seroka.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Rights:

Authorizatin to publish, quote or reproduce requires written permission from Lenore Seroka. Contact Reference Services for more information.

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

Occupation:

Photographers -- New York (State) -- Great Neck  Search this

Topic:

Photography, Artistic -- Photographs  Search this

Women photographers -- New York (State) -- Photographs  Search this

Portrait photography -- Photographs  Search this

Identifier:

AAA.seroleno

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-seroleno

Creator:

Pearlstein, Philip, 1924-  Search this

Names:

WBAI Radio (New York, N.Y.)  Search this

WRFM (Radio station : New York, N.Y.)  Search this

Barnet, Will, 1911-2012  Search this

Blaine, Michael  Search this

Cantor, Dorothy  Search this

Close, Chuck, 1940-  Search this

Downes, Rackstraw  Search this

Dückers, Alexander, 1939-  Search this

Field, Richard  Search this

Haas, Richard, 1936-  Search this

Hampleman, Jean  Search this

Kelly, W. J.  Search this

Levine, Jack, 1915-2010  Search this

McCarthy, David, 1960-  Search this

Shaman, Sanford Sivitz  Search this

Storr, Robert  Search this

Tamburini, Fernando  Search this

Tsao, Vivian, 1950-  Search this

Updike, John  Search this

Viola, Jerome  Search this

Wallin, Leland  Search this

Ward, John  Search this

Warhol, Andy, 1928- -- Photographs  Search this

Witkin, Jerome  Search this

Yezzi, David  Search this

Extent:

31.8 Linear feet

16.68 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Date:

circa 1940-2008

Summary:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Scope and Contents:

The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.

Arrangement:

The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)

Biographical / Historical:

Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.

Provenance:

The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.

Restrictions:

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

Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Occupation:

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

Topic:

Architecture -- Egypt  Search this

Architecture, Roman  Search this

Art -- Study and teaching  Search this

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

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

Genre/Form:

Interviews

Motion pictures (visual works)

Photographs

Scrapbooks

Sketches

Slides (photographs)

Sound recordings

Transcripts

Video recordings

Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.pearphil

See more items in:

Philip Pearlstein papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-pearphil

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 2, Folder 82

Type:

Archival materials

Date:

1969-1981

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref119

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 2, Folder 83-84

Type:

Archival materials

Date:

1963-2005

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref120

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 2, Folder 85

Type:

Archival materials

Date:

1977-2001

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref121

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 2, Folder 86

Type:

Archival materials

Date:

circa 1991-1998

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref122

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 2, Folder 87

Type:

Archival materials

Date:

circa 1975-1996

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref123

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 3, Folder 1

Type:

Archival materials

Date:

1986-1990

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref124

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 3, Folder 2

Type:

Archival materials

Date:

circa 1977-1987

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref125

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 3, Folder 3

Type:

Archival materials

Date:

circa 1991-2003

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref126

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 3, Folder 4

Type:

Archival materials

Date:

circa 1984-2006

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref127

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 3, Folder 5

Type:

Archival materials

Date:

circa 1956-2004

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref128

Collection Creator:

Pearlstein, Philip, 1924-  Search this

Container:

Box 3, Folder 6

Type:

Archival materials

Date:

1974-2003

Collection Restrictions:

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

Collection Rights:

Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.

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

Collection Citation:

Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.

See more items in:

Philip Pearlstein papers

Philip Pearlstein papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pearphil-ref129