Photographs made by Janet Longcope during trips to countries around the world. They depict landscapes, buildings, markets, dances, agriculture, arts and crafts, ceremonies, children, cooking, musicians, and transportation. Locations depicted include Afghanistan, Australia, Bhutan, Brazil, Burma, Cambodia, Chile, Colombia, Easter Island, Egypt, Ethiopia, Fiji, Greece, Guatemala, Hawaii, Honduras, Hong Kong, India, Indonesia, Iran, Iraq, Israel, Italy, Japan, Jordan, Kenya, Lebanon, Macao, Malaysia, Mexico, Mongolia, Morocco, Nepal, New Guinea, New Zealand, Pakistan, Peru, Russia, Siberia, Singapore, Solomon Islands, Spain, Sri Lanka, Syria, Taiwan, Thailand, Uzbekistan, Vietnam, Yemen, and Yucatan. Longcope used many of these photographs in lectures.
Biographical/Historical note:
Janet Longcope (1886-1974) was a bookbinder and world traveler who gave informal lectures about her travels. Ater the death of her husband Dr. Warfield T. Longcope in 1953, she visited countries all over the world, returning to some, such as India, as many as nine times.
Beiträge zur Fauna Perus : nach der Ausbeute der Hamburger Südperu-Expedition 1936, anderer Sammlungen, wie auch auf Grund von Literaturangaben / herausgegeben von Erich Titschack
An interview of Raquel Rabinovich conducted 2012 September 25 and October 9, by James McElhinney, for the Archives of American Art, at Rabinovich's home, in Rhinebeck, New York.
Rabinovich speaks of growing up in Argentina; becoming aware of art; reproductions and books; European art; her Jewish heritage; her parents moving to Argentina before World War I; Jewish persecution; her parents' background; living in Cordoba; speaking Spanish and Yiddish growing up; quiet reflections; church; art exposure; traveling and moving to Paris; the influence of Ernesto Farina; Peron's dictatorship and rebellion; attending medical school and the call of art; political activities and spending time in jail; meeting Jose and moving to Scotland; Paris and exposure to artwork; teachings of Andre Lhote; her early works; abstraction; painting; the Mona Lisa; darkness and light; "The Dark is Light Enough"; exposure to literature and poetry; living in Copenhagen; meeting Jorge Luis Borges; the Book of Sand; her siblings; her children and her relationship to them; staying up to date with current events; libraries and a lack of books growing up; meditation; texture and the monochromatic works; interest in Jasper Johns' work; meeting Jasper Johns; living in New York; trip to Machu Picchu and spending the night outdoors; "Cloister, Crossing, Passageway 1.32"; glassworks and transparency; exhibiting artwork; her divorce; Rodolfo Mondolfo; environment and exposure; quiet contemplation; spending time with artwork; commissioned work near High Falls; "River Library"; libraries as places of knowledge; minimalism; the 1980s; her daughter's wedding and her relationship with Jose; stones; traveling to Nepal, Thailand, India, and Egypt; temples; Buddhism; "Chhodrtens"; garbhagrihas; NEA fellowship and residency in Paris; "Thrones for the Gods"; INTAR Gallery; "Gateless Gates"; artifacts; Pabhavikas sculpture; Charles Stein; Linda Weintraub; George Quasha; Station Hill Press; "Enfolded Darkness" and "Light Unworn". Rabinovich also recalls Baron Hughes, Beethoven, Lenin, Diego Velazquez, Andre Lhote, Mondrian, Picasso, Braque, David Levi Straus, Robert Kelly, Cezanne, Philip Pavia, Agnes Martin, Dorothea Rockburne, Barry Schwabsky, Bill Zimmer, Agnes Denes, Louisa Valenzuela, Julia Herzberg, and Marco Maggi.
Biographical / Historical:
Raquel Rabinovich (1929- ) is a painter and sculptor in Rhinebeck, New York. James McElhinney (1952- ) is a painter and educator from New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Scope and Contents:
The papers of New York gallery owner and art dealer David Herbert measure 5.8 linear feet and date from circa 1909-1996, with the bulk of the material dating from 1945-1995. Herbert's papers document his years working for Betty Parsons Gallery, Sidney Janis Gallery, Graham Gallery, and others; the operation of the David Herbert Gallery from 1959-1962; Herbert's partnerships and agreements with Richard Feigen and others; and his activities as an independent dealer. Records include biographical material, correspondence, notebooks, subject files, artist files, exhibition files, business records, printed material, and photographs.
Biographical material includes address books and calendars, educational records, records of Herbert's military service in the United States Naval Construction Battalion in Japan, and resume's charting his career.
Correspondence is with Herbert's parents, friends, business colleagues, and artists. It includes documentation of Herbert's partnership with Richard Feigen, and his cooperative work with Irving Blum and Walter Hopps of Ferus Gallery in Los Angeles, and Robert Fraser in London. Also documented are Herbert's relationship with Jaime Andrade and Andrade's family, and a lawsuit Herbert brought against Aaron Berman relating to the ownership of an Ellsworth Kelly drawing. There are scattered letters and postcards from artists and collectors, including Martin Blaszko, Lloyd Cotsen, Martin Hoffman, Ray Johnson, Josephine Merck, Alfonso Ossorio, Paul Sorel, and Clyfford Still.
Notebooks provide brief notes on Herbert's day-to-day business dealings. Subject files, consisting primarily of printed material, document Herbert's interests in several art world figures, subjects such as ancient art, and travel to locations such as Ecuador, Puerto Rico, and Greece.
Exhibition files include installation shots and catalogs for many of the exhibitions held at the David Herbert Gallery between 1959 and 1962.
Artist files document Herbert's interest in individual artists, such as William Draper, Ellsworth Kelly, Franz Kline, Sven Lukin, Edgar Negret, Louise Nevelson, Anthony Padovano, Eduardo Ramirez, and Jeanne Reynal, through printed material, photographs of artwork, scattered artist letters, and sales documentation.
Business records document the financial details and overall goals of Herbert's various business ventures. There is a sales book for Betty Parsons Gallery and Sidney Janis Gallery; Herbert's appraisal, consignment, commission, sales, and loan records; Herbert's business plans and projections; financial statements from the David Herbert Gallery; sales records for Graham Gallery; and records of Herbert's partnership with Douglas McKelvy.
Printed material includes announcements and catalogs from galleries Herbert worked for or collaborated with, including Graham Gallery, Betty Parsons Gallery, Feigen/Herbert Gallery, Stewart Neill Gallery, and Robert Fraser Gallery. Also found are obituaries and other new clippings of interest to Herbert.
Photographs are of Herbert, family members, and friends and colleagues, including his companion, Jaime Andrade, Leona Carrington, William Draper, Jon Carsman, Hans Namuth, and Leon Polk Smith. Many are color snapshots collected in two photographs albums. Also found are photographs taken in Japan and Iwo Jima in 1945-1946 of street scenes, Naval Construction Battalion facilities, and Herbert's army colleagues and friends.
Arrangement:
The collection is arranged as nine series.
Missing Title
Series 1: Biographical Material, 1920-circa 1995 (0.7 linear feet; Box 1)
Series 2: Correspondence, 1942-1996 (1 linear foot; Boxes 1-2)
Series 3: Notebooks, circa 1950s-circa 1995 (0.3 linear feet; Box 2)
Series 4: Subject Files, 1950s-1992 (0.4 linear feet; Boxes 2-3)
Series 5: Exhibition Files, 1959-1963 (0.25 linear feet; Box 3)
Series 6: Artist Files, 1950s-1993 (0.75 linear feet; Boxes 3-4)
Series 7: Business Records, 1950s-1992 (0.6 linear feet; Box 4)
Series 8: Printed Material, 1949-circa 1995 (1.4 linear feet; Boxes 5-7)
Series 9: Photographs, circa 1909-circa 1990 (0.4 linear feet; Box 7)
Biographical / Historical:
New York gallery owner and art dealer David Herbert (1920-1995, born David Herbert Schmerer), worked for a number of important galleries in New York, had his own eponymous gallery from 1959-1962, operated as a private dealer, and was in partnership with dealer Richard Feigen from 1962-1964.
Herbert served in the United States Naval Construction Battalion from 1943-1946 and was posted to Japan in 1945-1946. After receiving a BA in art history from Syracuse University in 1951, he worked for Betty Parsons Gallery (1951-1953) and Sidney Janis Gallery (1953-1959), selling the work of contemporary American painters and sculptors, handling publicity, and installing exhibitions.
Herbert forged strong connections with artists and collectors alike, and was instrumental in launching the careers of a number of important artists. One such artist was Ellsworth Kelly, whom he recommended to Parsons, triggering Kelly's New York career. He opened the David Herbert Gallery in 1959, with investment from Douglas McKelvy, promoting the works of artists including Willem de Kooning, Franz Kline, Jackson Pollock, and Louise Nevelson, to leading collectors and museums.
Herbert often worked in cooperation with colleagues Irving Blum and Walter Hobbs in Los Angeles, and Robert Fraser in London. After closing his gallery in 1962, Herbert entered a partnership with dealer Richand Feigen, operating the Feigen/Herbert Gallery from 1962-1964. From 1964-1969 he worked as a private dealer specializing in twentieth century works of art and serving as a consultant to collectors, museums, artists, and corporate interests. From 1969-1975 he was Director and Art Salesman of contemporary and 19th Century American Art at Graham Gallery. Herbert subsequently continued as a private dealer from 1975 until his death.
Herbert traveled extensively, visiting museums, collectors, and galleries in England, France, Italy, Greece, Spain, Colombia, Peru, Ecuador, Hawaii, and Japan. Through Edgar Negret, whom Herbert represented, he met Jaime Andrade, who became his assistant at the Feigen/Herbert Gallery in 1963. In turn Andrade shared with Herbert an interest in pre-Columbian art and contemporary Spanish and Latin America art, hosting multiple visits to his native Ecuador by Herbert and others, including artist William Draper.
Andrade served as executor of Herbert's estate, following Herbert's death in 1995.
Provenance:
The David Herbert papers were given to the Archives of American Art by Jaime Andrade, Herbert's companion, in 1999.
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:
Gallery owners -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Topic:
Art, Modern -- 20th century -- New York (State) -- New York Search this
Genre/Form:
Photographs
Citation:
David Herbert papers, circa 1909-1996. Archives of American Art, Smithsonian Institution.
Photographs made by Hamilton Wright Jr. in Egypt, South Africa, India, Lebanon, Taiwan, the Philippines, Korea, Hong Kong, Holland, Italy, Mexico, Venezuela, Ecuador, Chile, Bolivia, Haiti, the Virgin Islands, Canada, Alaska, Colorado, and New Hampshire. They include images of modern and ancient structures and monuments, artifacts, industries, cities, markets, caves, festivals, beaches, scenery, and sporting events. Most appear to have been made for the Hamilton Wright Organization, an international agency that made films and photographs to support public relations campaigns of foreign governments. Also included are some lantern slides depicting historical sites in Egypt, directed by Hamilton Wright, Sr., and one-sheets for motion picture films produced by the Hamilton Wright Organization. Additional material includes slide narration for a lecture and short news stories relating to the images in the collection.
Biographical/Historical note:
In 1908, Hamilton Wright Sr. founded the Hamilton Wright Organization, a public relations firm that specialized in making travelog and newsreel film and distributing it to motion picture houses around the world, often on behalf of domestic and foreign governments. Wright's son, Hamilton Wright Jr., managed the company after his father and expanded it's work. In 1963, a Senate committee criticized the Hamilton Wright Organization for hosting press junkets and distributing its photographs, newsreels, and stories in American news media without reporting its sources. The Hamilton Wright Organization was closed by Hamilton Wright Jr.'s son in the late 1960s.
Local Call Number(s):
NAA Photo Lot 76-35
Location of Other Archival Materials:
Films by the Hamilton Wright Organization can be found in the Human Studies Film Archive in HSFA 94.19.
The Film and Television Archive at the University of California at Los Angeles holds the motion picture film and related material of the Hamilton Wright Organization.
Quotes and excerpts must be cited as follows: Oral history interview with Raquel Rabinovich, 2012 September 25 and October 9. Archives of American Art, Smithsonian Institution.
Potosí (Bolivia : Dept.) -- Description and travel.
Puno (Peru : Dept.)
Andes Region -- Economic integration.
Taquili (Peru) -- Economic conditions
Peru
Taquili (Peru) -- Social life and customs
Date:
1971-2010
Summary:
The Elayne Zorn Collection measures 11 linear feet and contains thousands of photographic objects including negatives, slides and prints. The collection material spans the years of Zorn's professional and student activity in the fields of anthropology and Latin American studies from around 1975 until 2010. The material in this collection reflects Zorn's long association with the community in Taquile, Peru which led up to the publication of her book, Weaving a Future, in 2004. Zorn also spent a significant amount of time conducting field research in Andean communities in Bolivia examining the relationships between tourism and textiles. Zorn's additional professional activities included serving as a textile collector and expert advisor for museum collections and exhibitions as well as performing academic duties at the University of Central Florida.
Scope and Contents:
The Elayne Zorn Collection spans the years of Zorn's professional and student activity in the fields of anthropology and Latin American studies from 1975 until 2010. This includes material from Zorn's field research in the Andean Regions of Peru and Bolivia as well as her professional activities as a textile collector and expert advisor for museum collections and exhibitions. This collection is arranged into six series with additional subseries. Series 1, Field Research, includes field notebooks, correspondence, and general research from Taquile, Peru, Sakaka, Bolivia and La Paz, Bolivia. Series 2, Professional Activities, includes presentation and lecture notes, object catalogs for various museum collections and Zorn's academic work conducted at the University of Central Florida. Series 3, Publications and Writings, contains both articles written by Zorn, including her Master's thesis and dissertation, and articles published by colleagues. Series 4, Ephemera and Miscellaneous, contains a variety of materials including posters, postcards, datebooks and calendars as well as material gathered by Zorn's former husband, Juan Cutipa. Series 5, Photographs, includes negatives, slides, prints and digital media that document Zorn's work in the field. The bulk of the photographs capture the daily lives of weavers as well as important community holidays and festivals. Series 6, Audio-Visual Materials, includes a small amount of VHS tapes as well as audio-cassettes on which Zorn recorded traditional Andean music performed at festivals she attended in Peru and Bolivia.
Arrangement:
Series 1: Field Research, 1975-2006
Subseries 1.1: Taquile, Peru, 1975-1994 [1977-1981]
Subseries 1.2: Sakaka, Bolivia, 1985-1994
Subseries 1.3: La Paz, Bolivia, 2006
Subseries 1.4: Miscellaneous Field Notes, 1976-2006
Series 2: Professional Activities, 1978-2010
Subseries 2.1: Conferences and Presentations, 1977-2009
Subseries 2.2: Museum Work, 1976-2008
Subseries 2.3: General, 1976-2010
Series 3: Publications and Writings, 1979-2009
Subseries 3.1: Elayne Zorn, 1979-2009
Subseries 3.2: Other Authors, 1979-2005
Series 4: Ephemera and Miscellaneous, 1975-2009
Series 5: Photographs, 1970-2006
Subseries 5.1: Negatives, 1976-1997
Subseries 5.2: Slides, 1970-2002
Subseries 5.3: Prints, 1978-2000
Subseries 5.4: Digital Media, 2002-2006
Series 6: Audio-Visual Materials, 1983-1994
Subseries 6.1: Cassette Tapes, 1983-1991
Subseries 6.2: Videotapes, 1991-1994
Biographical / Historical:
Elayne Leslie Zorn was born on February 3, 1952 in New York City. She attended Hunter College High School and Barnard College. She received her Bachelor's of Fine Arts degree in Textile Arts from the California College of the Arts in 1975. She then began a long association with the community on the Island of Taquile, in the Puno region of Peru, conducting fieldwork on native weaving techniques. She also began a long-term affiliation with the Museo Nacional de Etnografia y Folklore in La Paz, Bolivia and collected textiles in the Macusani region of Peru for an exhibit at the California Academy of Sciences. She received her Master's degree in Latin American Studies from the University of Texas, Austin in 1983, with fieldwork concentrated on economic development and tourism in Taquile, Peru. During her time in Peru in the 1970's and 1980's, Zorn became an accomplished musician, playing the charango and Bolivian mandolin in performances in Andean towns as well as in New York City. Zorn resumed graduate studies in 1985 at Cornell University where she received her Master of Arts degree in anthropology in 1987 followed by her Ph.D. in 1997. At Cornell she worked under the supervision of Professor Billie Jean Isbell and conducted much of her dissertation fieldwork in Sakaka, Bolivia focusing on the global transformation of cloth and identity in highland Andean regions. Zorn worked as a visiting Assistant Professor of Anthropology at Colgate University from 1997 to 1998 and then hired as Professor of Anthropology at the University of Central Florida from 1998 until 2010. While at the University of Central Florida, Zorn received both teaching-related and research-related awards as well as grants to continue her fieldwork in the Andean regions of Peru and Bolivia. She also co-directed the PeruVine/PeruDigital Project, an interactive and immersive website to present field data from Peru's Institute of Ethnomusicology online. In 2004 Zorn published her book, Weaving a Future: Tourism, Cloth and Culture on an Andean Island (University of Iowa Press), an analysis of textile traditions as it relates to global change.
In addition to her academic duties, throughout her career Zorn collaborated with various museums and cultural institutions as a consultant and collector. These included, but are not limited to, The Brooklyn Museum, The Textile Museum, Smithsonian Center for Folklife Programs, UNICEF and the Inter-American Foundation. She was also a member of various professional societies including the American Anthropological Association, the Bolivian Studies Association, the Society for Latin American, Carribean, and Latino Studies as well as the Textile Society of America. Zorn passed away June 15, 2010 and was survived by her mother, Sandra Gordon, and her son, Gavriel Cutipa-Zorn.
Sources:
http://anthropology.cos.ucf.edu/include/file/people/cv/zorn_elayne.pdf (Accessed May 01, 2012)
http://digitalethnography.dm.ucf.edu/pv/Zorn.html (Accessed May 1, 2012)
Provenance:
This collection was donated by Gavriel Cutipa-Zorn, Elayne Zorn's son in April of 2011.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Due to their fragile nature, the Audio-Visual materials in this collection are closed to researchers until they have been digitized.
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Identification of specific item; Date (if known); Collection Title, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
