The Pathology of fishes : proceedings of a symposium / sponsored by the Registry of Comparative Pathology, the American Registry of Pathology, Armed Forces Institute of Pathology, and supported by Universities Associated for Research and Education in Pathology, inc., and the University of Wisconsin Sea Grant Program ; edited by William E. Ribelin, George Migaki
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Scope and Contents:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Correspondence provides a wide range of documentation on all aspects of Kepes's career including his collaborations and friendships with artists, architects, writers, scientists, and fellow educators including Rudolf Arnheim, Alexander Calder, Henry Dreyfuss, Charles and Ray Eames, Clive Entwhistle, R. Buckminster Fuller, Walter Gropius, S. W. Hayter, Jean Hélion, Laszlo and Sibyl Moholy-Nagy, Lev Nussberg, Robert Osborn, George Rickey, Saul Steinberg, Kenzo Tange, Robert Jay Wolff, and Jekabs Zvilna. Correspondence also documents the evolution of Kepes's vision for the Center for Advanced Visual Studies, which he established in 1967, and his subsequent leadership of CAVS at M.I.T. Records document his collaborations with students and fellows including Lowry Burgess, Jack Burnham, Piotry Kowalski, Margaret Mead, Otto Piene, Alan Sonfist, Athena Tacha, Vassilakis Takis, Philip Thiel, Harold Tovish, and Wen-Ying Tsai. Correspondents also include people who contributed to Kepes's Vision + Value series, including Michael Blee, Kazuhiko Egawa, Jean Hélion, and others. Correspondence includes three motion picture films, including what appears to be an early version of Powers of Ten by Charles and Ray Eames.
Writings include notes and manuscripts for articles and essays in which Kepes explored ideas evident in his books The New Landscape and Language of Vision, and submitted to publications such as Daedalus, Design, Domus, and Leonardo. Writings also include manuscripts for lectures, and draft manuscripts documenting Kepes's collaborative work with fellow M.I.T. professor Kevin Lynch on city planning, which culminated in Lynch's research project "The Perceptual Form of the City."
A small group of "Times Square Project" files documents Kepes's proposal for a lightscape in Times Square that was ultimately not realized.
Teaching files include sound recordings of circa five symposia and discussions held at M.I.T., the Illinois Institute of Technology, and elsewhere, some featuring Kepes and including Philip Johnson, Eero Saarinen and others.
Exhibition files include documentation of three exhibitions, including Light as a Creative Medium (1968) and a Kepes exhibition at Saidenberg Gallery (1968). They also record Kepes's involvement in designing the 1968 Triennale di Milano.
Printed material includes a substantial collection of announcements and catalogs for Kepes exhibitions, lectures, and other events, and includes catalogs and announcements for scattered exhibitions of his wife, artist and illustrator, Juliet Kepes. Clippings from newspapers and magazines include articles about Kepes, and contain some copies of published writings and designs by him. The series also includes sound recordings and motion picture films containing original material for a CBS television series "The 21st Century," probably as part of the episode "Art for Tomorrow," which appear to feature M.I.T. fellows Jack Burnham and Vassilakis Takis. Another motion picture film of an Italian documentary "Operazione Cometa" can also be found here.
Two sketchbooks contain pen and ink and painted sketches by Kepes. Artwork by Kepes includes original poster designs, caricatures, and many pencil, and pen and ink sketches and paintings on paper and board, including designs for stained glass. Artwork by others includes ink on mylar sketches by D. Judelson and Konstancija Brazdys, and a sketch by Harold Tovish. Also found are circa seventeen motion picture films and four sound recordings, the majority of which are untitled and by unidentified artists, but include films by M.I.T. fellows Otto Piene, Vassilakis Takis, Philip Thiel, Harold Tovish, Wen-Ying Tsai, and others.
Photographs are of Kepes, Juliet Kepes, and other family members; students, colleagues, and friends, including R. Buckminster Fuller, Serge Chermayeff, Harry Bertoia, Varujan Boghosian, Alexander Calder, Marchall McLuhan, Margaret Mead, Herbert Read, I. A. Richards, Saul Steinberg, and William Wurster; and of Kepes in his studio. There are also photos of exhibition installations in which Kepes's work appeared or which he designed, and photos of his artwork and of images for publications which he wrote or edited. Photos by others include artwork by established artists and work by students, as well as photographs arranged by subjects such as cityscapes, forms found in nature, light patterns, mechanical devices, and photomicrographs. A collection of lantern slides with similar content to the photos of artwork and photos by subject is also found in this series and includes a lantern slide of Picasso creating a design with light.
Arrangement:
The collection is arranged as eleven series.
Series 1: Biographical Material, circa 1940-circa 1980 (0.25 linear feet; Boxes 1, 28)
Series 2: Correspondence, 1936-1984 (5.7 linear feet; Boxes 1-7, 28 OV 33, FCs 39-41)
Series 3: Interviews and Transcripts, 1954-1970 (4 folders; Box 7)
Series 4: Writings and Notes, 1948-circa 1980s (1.4 linear feet; Boxes 7-8, 28)
Series 5: Times Square Project Files, 1972-1974 (6 folders; Box 9)
Series 6: Teaching Files Sound Recordings, circa 1953-1972 (0.7 linear feet; Box 9)
Series 7: Exhibition Files, 1958-1973 (0.4 linear feet; Boxes 9-10)
Series 8: Printed Material, circa 1922-1989 (3.6 linear feet; Boxes 10-12, 28-29, OVs 35, 37, FCs 42-49)
Series 9: Sketchbooks, circa 1940s-circa 1970s (2 folders; Box 12)
Series 10: Artwork and Moving Images, circa 1924-2003 (2.5 linear feet; Boxes 12, 13, OVs 33-36, 38, FCs 50-62)
Series 11: Photographs, 1909-1988 (10.4 linear feet; Boxes 13-32)
Biographical / Historical:
Painter, designer, art theorist, and educator, Gyorgy Kepes (1906-2001), was born in Selyp, Hungary, and studied at the Royal Academy of Fine Arts, Budapest. He worked with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937.
Kepes taught courses at the New Bauhaus from 1937 to 1945, and published Language of Vision in 1944, summarizing the educational ideas and methods he had developed during his time at the institute. In 1946 he accepted a teaching position at the Massachusetts Institute of Technology (M.I.T.) where he initiated a program in visual design.
In 1956 Kepes published The New Landscape in Art and Science, in which he presented images from nature that were newly accessible due to developments in science and technology, and explored his ideas for a common language between science and the visual arts.
In 1965, these ideas were apparent in Kepes's proposal of an expanded visual arts program at M.I.T., which would "build new as yet undetermined bridges between art and engineering and science," according to the minutes of an M.I.T. Art Committee meeting in March of that year. Kepes's vision dovetailed with M.I.T.'s vested interest in promoting the arts, and faculty and administrators were open to the argument that "The scientific-technical enterprise needs schooling by the artistic sensibilities." In 1967, they appointed Kepes Director of M.I.T.'s Center for Advanced Visual Studies (CAVS).
Kepes retired from the regular faculty at M.I.T. in 1967, to focus on his role as director of CAVS, where he worked to provide artists with opportunities for exploring new artistic forms on a civic scale through a working dialogue with scientists and engineers. Early fellows of the center included Maryanne Amacher, Joan Brigham, Lowry Burgess, Jack Burnham, Piotry Kowalski, Otto Piene, Vassilakis Takis, and Wen-Ying Tsai.
In 1965-1966 Kepes edited a six-volume series entitled Vision + Value, published by George Braziller, Inc. Each volume featured essays that centered around a core theme: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and Man-Made Object. Contributions came from prominent artists, designers, architects, and scientists of the time including Rudolf Arnheim, Saul Bass, Marcel Breuer, John Cage, R. Buckminster Fuller, Johannes Itten, Marshall McLuhan, and Paul Rand.
Kepes experimented widely with photography, producing abstract images through the application of fluids and objects to photographic paper. He also took commercial work throughout his career, producing designs for all kinds of objects, including books and stained glass windows for churches. He returned to painting in the 1950s, and his development as a painter continued throughout his career at M.I.T., where he remained until his retirement in 1974, and beyond. His paintings, which were abstract and often incorporated organic shapes and hints of landscapes, can be found in museums such as the Brooklyn Museum of Art, the Corcoran Gallery of Art, and the Whitney Museum of American Art.
Kepes received many awards during his lifetime, including a Guggenheim Fellowship (1958); the Gold Star Award of the Philadelphia College of Art (1958); the National Association of Art Colleges Annual Award (1968); the California College of Art Award (1968); and the Fine Arts Medal from the American Institute of Architects (1968). In 1973 he was elected into the National Academy of Design as an associate member, and became a full academician in 1978. He was a member of the National Institute of Arts and Letters and Fellow of the American Academy of Arts and Sciences.
Related Materials:
Additional papers of Gyorgy Kepes can be found at Stanford University and the Massachusetts Institute of Technology Center for Advanced Visual Studies Special Collection.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 1211) including ninety-eight letters to Kepes from colleagues, 1946-1974. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Gyorgy Kepes lent papers for microfilming in 1974 and donated material to the Archives of American Art in a series of gifts between 1974 and 1993.
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 copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. 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.
Subjects include architecture, cityscapes, celestial bodies, and mechanical devices, and also include photographic prints of x-rays and photomicrographs showing experiments with light and other natural phenomena. Many of these photographs were possibly used in teaching.
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 with no duplicate copies requires advance notice.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. 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:
Gyorgy Kepes papers, 1909-2003, bulk 1935-1985. Archives of American Art, Smithsonian Institution.
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 copies requires advance notice.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. 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:
Gyorgy Kepes papers, 1909-2003, bulk 1935-1985. Archives of American Art, Smithsonian Institution.
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 copies requires advance notice.
Collection Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. 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:
Gyorgy Kepes papers, 1909-2003, bulk 1935-1985. Archives of American Art, Smithsonian Institution.
Includes 2 slides (photographs) of Bab edh-Dhra site and an unidentified case; and 11 annotated photomicrographs.
Container:
Box 28
Type:
Archival materials
Date:
1978-1997
Series Restrictions:
Requests to view forensic files are subject to review by the NAA. Forensic files can only be
viewed in the National Anthropological Archives reading room. No copies are permitted unless
permission is granted by the agency the report was written for.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Donald J. Ortner Papers, National Anthropological Archives, Smithsonian Institution.
Sponsor:
The papers of Donald J. Ortner were processed with the assistance
of the Smithsonian Institution's Collections Care and Preservation Fund.
National Museum of American History (U.S.). Division of Science, Medicine, and Society Search this
Extent:
3.5 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Laboratory notebooks
Electron micrographs
Correspondence
Technical literature
Reprints
Photomicrographs
Date:
1904-1968.
Summary:
This collection consists of materials from the professional life of Dr. Bruno Z. Kisch.
Scope and Contents note:
Contains correspondence, most relating to Kisch's service as President of the American College of Cardiology; photomicrographs, of animal tissue specimens; writings and notes; notebooks on Dr. Kisch's experimentation and research, including many electrocardiograms; and printed material, such as medical journals containing articles by Dr. Kisch, and reprints of articles by Dr. Kisch.
The materials are useful to those with an interest in the American College of Cardiology during the 1950s, or those who have the ability to read and understand cardiological printouts.
Electrocardiograph: An instrument which records electrical currents produced by the heart.
Electrocardiography: A method of recording electrical currents traversing the heart muscle just previous to each heart beat. The study and interpretation of electrocardiographs.
Electrocardiogram: The graphic record of the heart's action currents obtained with the electrocardiograph.
Electrogram: Any record on paper or film made by an electrical event.
Tracing: Any graphic display of electrical or mechanical cardiovascular event.
Arrangement:
Divided into 5 series:
Series 1, Personal materials
Series 2, Correspondence
Series 3, Notebooks
Series 4, Photographs, Micrographs and Negatives
Series 5, Publications
Biographical/Historical note:
Dr. Bruno Zacharias Kisch (1890-1966) was born in Prague, Czechoslovakia in 1890. He received his medical degree in 1913 at the Charles University of Prague and served in the Austrian army during World War I as a physician from 1914-1918. With the rise of Nazism, Kisch relocated to the United States in 1938 with his wife, Ruth, and their two children, Charlotte Rebecca and Arnold Emanuel. A colleague called him "one of the princely gifts that fell to America because of Adolph Hitler". In 1943, Kisch became a United States citizen.
Amongst his peers Kisch was credited as a "Da Vinci in a modern age" due to his wide range of interests. He was a founding member of the American College of Cardiology in 1949, and completed the first president's term upon his death in 1951. Kisch was elected as president in his own right at the end of the term and held the office of president from 1951-1953. From 1939 until 1966 Kisch had his own medical practice in New York City and was a researcher and consultant in cardiology. Kisch's major contribution to the field of cardiology was his experimentation with electron microscopes. He was the first scientist to use electron microscopes to perform cardiac research on warm-blooded animals. The microscope allowed researchers to study heart fibers more closely by magnifying cells by 30,000. Discoveries Kisch made through this research furthered the field of cardiology and led to the formation of the Electron Microscopic Institute in 1953.
The professorships he held at multiple schools, including Yeshiva University, in New York City, and Yale University, reflect his wide range of knowledge from physiology to the philosophy and history of science as does his consultation to the Smithsonian Institution in Washington, D.C. on "the study of scales, weights, and measures", and his position as curator to the Edward Clark Streeter Collection of Weights and Measures at Yale University. Kisch's other interests can be found in the articles he wrote and the publications for which he served as founder/editor: "The Jewish Refugee and America"; "History of the Jewish Pharmacy (Judenapothek) in Prague"; "Scales and Weights – A Historical Outline"; "Shekel Metals and False Shekels"; Cardiologia; the Journal of Experimental Medicine and Surgery; and the Transactions of the American College of Cardiology. Dr. Bruno Z. Kisch passed away while visiting Germany in 1966. The Electron Microscopic Institute was dedicated in his memory in 1967.
Related Materials:
xMaterials at the National Museum of American History
Division of Medicine and Science
Other artifacts in the collection include sphygmomanometers, sphygmographs, stethoscopes, pacemakers, stents, and one of Claud Beck's defibrillators. The collection also has early examples of Bayer Aspirin.
Provenance:
The collection was donated by Dr. Bruno Kisch's wife, Prof. Ruth Kisch, of Brooklyn, New York, in 1971.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Dr. Bruno Z. Kisch Papers, 1904-1968, Archives Center, National Museum of American History.
This material was collected by Mr. Borasky over a long period during which he worked in the field of electron microscopy.
Borasky's correspondence with many of the major figures in the field is included. Much of this correspondence was initiated by Borasky as a means of documenting the history of electron microscopy that he attempted to write over many years. The question of priority of invention and the many steps in development of these instruments are prominent elements of the correspondence.
The collection includes documentation of early events in the development and use of the electron microscope. Numerous reprints of articles, some by pioneers in the field, are supplemented by micrographs (photos) of various materials.
As part of the collection, more than 70 audio tapes were made by Mr. Borasky, recording interviews and lectures relating to microscopy and other matters. The quality of these recordings is generally not satisfactory, however.
Arrangement:
The collection is arranged into seven series.
Series 1: Personal, 1948-1987
Series 2: Surveys of Colleagues and Responses, 1959-1982
Series 3: Other Correspondence, 1940-1988
Series 4: Electron Microscopy Societies, 1942-1974
Series 5: Development and Applications of Electron Microscopy, 1935-1986
Series 6: Early History of Electron Microscope (draft material; correspondence), 1942-1987
Series 7: Scientific Publications, 1930-1985; 8. Audio Tapes, 1971-1977
Biographical / Historical:
Rubin Borasky (1910- ) was born in Philadelphia, PA and was educated at Temple University (AB in 1932, AM in 1936, Ph. D. in 1950). He was employed as a teaching assistant at Temple 1932 1934 and as a teacher in Philadelphia secondary schools 1934-1939. Later he worked as a biologist and chemist in U. S. Department of Agriculture, as senior scientist (electron microscopy) for the General Electric Company and as electron micographer at the University of Illinois. He was a member of the Electron Microscopy Society of America and other professional societies in the field of electron microscopy.
Provenance:
The collection was donated by Charlotte S. Borasky, August 1, 1992.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
No access restrictions. Many of SIA's holdings are located off-site, and advance notice is recommended to consult a collection. Please email the SIA Reference Team at osiaref@si.edu
