Skip to main content Smithsonian Institution

Search Results

Collections Search Center
58 documents - page 1 of 3

Eyre de Lanux papers

Creator:
Lanux, Eyre de  Search this
Names:
Aragon, Louis, 1897-1982  Search this
Barney, Natalie Clifford  Search this
Casagrande, Paolo  Search this
Eyre, Paul  Search this
Eyre, Wilson, 1858-1944  Search this
Fahlman, Betsy  Search this
Ford, Consuelo  Search this
Lanux, Pierre de Combret, 1887-1955  Search this
Lear, Tobias, 1762-1816  Search this
Lee, Ann  Search this
Lenard, Alexander  Search this
Strong, Anne  Search this
Wyld, Evelyn  Search this
Extent:
10.6 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Diaries
Sketches
Sound recordings
Date:
1865-1995
Summary:
The papers of portrait painter, writer, and designer, Eyre de Lanux (1894-1996) measure 10.6 linear feet and date from 1865 to 1995. The papers include biographical materials, personal business records, sixty-four diaries dating from 1922 through 1988, writings and notes, research files, printed materials, artwork, and photographs of Eyre de Lanux, her family, and friends. There is extensive correspondence with her husband Pierre de Lanux and her long-time lover Paolo Casagrande, as well as with other friends and family.
Scope and Content Note:
The papers of portrait painter, writer, and furnishings designer, Eyre de Lanux (1894-1996) measure 10.6 linear feet and date from 1865 to 1995. The papers reflect Eyre's personal life in Paris with her husband, Pierre de Lanux and her travels with longtime lover Paolo Casagrande. The bulk of the collection consists of diaries spanning 1922 to 1988 and correspondence. Also found are de Lanux's sketches and drawings, some of which depict Parisian scenes and portraits of her lovers and friends. Other materials found include biographical information, personal business records, writings and notes including short stories, research files on Tobias Lear and Wilson Eyre, printed materials, and scattered photographs.

Biographical records include various membership certificates, medical records, travel papers and tickets, and a transcript of a psychic reading. Also found is a sound recording concerning Pierre de Lanux.

Personal business records consist of addresses, a personal calendar, consignment and loan agreements concerning the sale of Eyre's art collection, miscellaneous receipts, rental and lodging forms, stocks, and a copy of a will.

Correspondence spans the years 1922 until 1995 and includes an extensive exchange between Eyre and her husband Pierre, her lover Paolo Casagrande, and her daughter Anne Strong (Bikou.) Other notable correspondents include Louis Aragon, Natalie Barney, Betsy Fahlman, Consuelo Ford, Alexander Lenard, and Evelyn Wyld. Much of the correspondence is personal in nature, however a folder of correspondence between Eyre and her literary editors is found at the end of the series.

The papers include sixty-four diaries dating from 1922 through 1988; there are no diaries for the period 1927 to 1947 with the exception of two small notebooks dated 1938 and 1945. The diaries resume in 1948, with Eyre's arrival in Rome, and continue, with multiple volumes for most years, until the late 1980s when her eyes failed. The handwriting is difficult to read, and moves from one language to another within entries, employing English, French, and Italian. Eyre de Lanux used her diaries to record her impressions of the world rather than to enumerate daily activities.

Writings include drafts, copies, and notes for de Lanux's short stories from the 1920s until the 1980s. There are also annotated entries and drafts of her magazine column, "Letters to Elizabeth", poems, a note written to Paris, and notes concerning interior decoration. Writings by others include poems by Ann Lee, travel journals by Paolo Casagrande and Paul Eyre, and a draft of Pierre de Lanux's "Memoires-Jours de Notre Vivre."

Research files consist of Eyre de Lanux's notes, drafts, photographs, published works, and research correspondence relating to her biography on Tobias Lear, the personal secretary of George Washington and a proposal for a work entitled Illusions of Identity. Other materials include copies of Betsy Fahlman's research on architect Wilson Eyre, de Lanux's uncle.

Printed material is scattered and includes periodicals with copies of writings by Pierre and Eyre de Lanux, one exibition announcement, printed reproductions of works of art, blank postcards, and souvenirs gathered from de Lanux's many trips abroad.

Photographs are of Eyre in her studio and of her family and friends including Louis Aragon, Natalie Barney, Paolo Casagrande and family, Alice Delmar, Paul Eyre, Consuelo Ford, Pierre de Lanux, Anne Strong, and Evelyn Wyld. There is a photo of Natalie Barney's 20 Rue Jacob Temple d'Amitie. Other photos are of buildings, travel, interiors, and works of art. Among the photographs of works of art include two portraits, one of Eyre de Lanux by Romaine Brooks and one of Romaine Brooks by Eyre de Lanux.

Artwork include sketches, drawings, prints, and paintings by Eyre de Lanux probably dating from the 1920s to the 1940s. There is a painted sketch of interior decoration from circa 1949. Sketches are of Parisian street scenes, portraits of friends, a design for a perfume advertisement for the fashion house Lucien Lelong, illustrated notes for Consuelo Ford, and miscellaneous subjects.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Information, 1965-1966 (Box 1; 10 folders)

Series 2: Personal Business Records , 1933-1989 (Box 1; 10 folders)

Series 3: Correspondence, 1924-1992 (Boxes 1-4; 3.0 linear feet)

Series 4: Diaries, 1922-1988 (Boxes 4-7; 3.5 linear feet)

Series 5: Writings and Notes, 1917-1995 (Boxes 7-8; 1.3 linear feet)

Series 6: Research Files, circa 1900-1980s (Boxes 8-9; 1.0 linear feet)

Series 7: Printed Material, circa 1910-1987 (Boxes 9, 11; 0.5 linear feet)

Series 8: Photographs, circa 1870-1973 (Box 10, OVs 18-20; 0.5 linear feet)

Series 9: Artwork, circa 1920-circa 1949 (Boxes 10-11, OVs 12-17; 0.8 linear feet)
Biographical Note:
Eyre de Lanux (1894-1996) spent much of her life traveling between Paris, Italy, and New York. In addition to portrait and frescoe painting, de Lanux designed furnishings and was a prolific writer.

Elizabeth Eyre de Lanux was born on March 20, 1894, the eldest daughter of Richard Derby Eyre (1869-1955) and Elizabeth Krieger Eyre (d. 1938). As Elizabeth's mother suffered from depression, the responsibilities of parenthood fell largely to Richard Eyre, a successful patent lawyer.

Elizabeth attended Miss Hazen's School in Pelham Manor, Westchester County, New York and enrolled in classes at the Art Students League in 1912 and during 1914-15. Her teachers were George Bridgman and John C. Johansen. At this time, she resided at 47 Washington Square but soon moved to 15 W. 67th Street. She exhibited two paintings, "L'Arlesienne," and "Allegro," in the first annual exhibition of the Society of Independent Artists in 1917.

In early 1918, while working for the Foreign Press Bureau of the Committee on Public Information, Elizabeth met writer Pierre Combret de Lanux (1887-1955.) They married in New York in a civil ceremony on October 9, 1918. Immediately after the Armistice, they sailed for Paris, settling at Number 19 Rue Jacob. Their daughter, Anne-Françoise, nicknamed "Bikou," was born December 19, 1925.

Possibly from the beginning of their marriage, but certainly from the early 1920s, Eyre and Pierre accorded one another the freedom to take other lovers. From 1923 to 1933, Pierre de Lanux was based mainly in Geneva, where he worked for the League of Nations as director of the Paris Office. The marriage endured until Pierre's death in March 1955.

In Paris, from 1919-20, Elizabeth continued her painting and drawing studies. At this time, she began signing her sketches "Eyre de Lanux." Café society at Le Boeuf sur le Toit was an inexhaustible source for portrait subjects, as were socialite Natalie Clifford Barney's Friday salons. A series of "Outlines of Women," line drawings touched with wash, were exhibited in May 1921 at New York's Kingore Galleries. On view was Eyre's portrait of Barney, identified as "Amazone" in the exhibit leaflet, and those of various high-society figures, including Marion Tiffany, actress Eva Le Gallienne, and tennis champion Julie Lentilhon.

Eyre and Pierre resided in the United States from September 1920 to April 1922, and lived at the Chelsea Hotel during the spring of 1921. While Pierre traveled, Eyre completed work on a pair of oak doors painted in tempera, vermillion, and gold with the 13th century legend of Sainte Marie l'Égyptienne. The doors went on exhibit in March 1922 at Knoedler Galleries and received a favorable review in The Sun. Eyre would not exhibit again in New York until 1943, when her fresco, "Persiennes, Persiennes" was included in "The Art of 31 Women Show" at Art of This Century Gallery.

Eyre began the study of frescoe painting in the late 1920s with Constantin Brancusi. Exhibits of her later frescoes were held in 1952 at Alexander Iolas in New York and in Paris at Le Sillon in 1960.

During her years in Paris, Eyre was associated with members of the Parisian arts and literary circles. Ezra Pound made corrections to her 1923 poem "Rue Montorgueil." Eyre met Surrealist poet Louis Aragon, who may have fell in love with her. Aragon's 1919 poem, "Isabelle," dedicated cryptically to one "Madame I.R." on its 1926 publication, tells of his love for "une herbe blanche." Their one-year liaison began in earnest in March 1925, soon after Eyre's relationship with Natalie Barney had ended. An affair with political writer Pierre Drieu La Rochelle, initiated in early 1923 and carried on intermittently, also ended at this time.

In 1933 Eyre and Pierre purchased a number of works of contemporary art. These included a Picasso watercolor and drawing from his Cubist period, a Braque, a Berman, two Picabia drawings, an Yves Tanguy, a large Mirà, and two paintings by de Chirico. In future years, gallery-owner Betty Parsons 1900-82), whom Eyre doubtless knew in Paris, would assist her in selling paintings from her collection. Many would be sold at a great loss to meet expenses.

From 1927 to 1933, Eyre collaborated with British carpet designer Evelyn Wyld (1882-1973), creating modernist furniture in glass, cowhide, wood, and lacquer for private clients. Eyre met Wyld while interviewing her for her monthly column, "Letters of Elizabeth," which ran for two years in Town and Country magazine. Eyre and Wyld exhibited their interiors in the 1928 and 1929 annual showings of the Artistes-Décorateurs and in 1930 at the first exhibit of the Société Union des Artistes Modernes. In 1932, the two women opened Décor, a furniture gallery in Cannes. The business, hurt by a decline in demand following the 1929 stock market crash, closed in 1933.

Eyre returned to Paris in 1945 There she met a young Italian writer, Paolo Casagrande. Eyre was 54 years old and he roughly half her age. With his encouragement, she rented a studio at 53 Via Margutta and beganworking on large frescoes and fresco portraits. One of her sitters was Tennessee Williams.

The relationship with Casagrande endured until the end of Eyre's life. Although Casagrande married in 1950 and eventually had children, he and Eyre maintained an almost continuous, passionate correspondence. They traveled for long periods in southern Italy, Sicily, Greece, and Morocco. During their Moroccan sojourn in 1951 and 1952, Eyre began making notes for short stories. "La Place de La Destruction" was published in 1955 in La Nouvelle Revue Française, and "The House in the Medina" appeared in Harper's Bazaar in November 1963. Her sketchbooks, watercolors, and frescoes from this period reveal her fascination with the North African landscape.

In March, 1961, possibly in order to pull away from Casagrande, Eyre left Paris and returned to New York permanently, taking a studio apartment at The Picasso on East 58th Street. In a diary entry made shortly before moving day, she wrote, "Write to Paolo every day, and mail it only occasionally." Her last visit to Paris occurred in 1978. Until legal blindness overtook her, Eyre pursued various research and writing projects.

She began work on a biography of Tobias Lear, a secretary to George Washington and a distant maternal ancestor. She also gathered photographs for "Illusions of Identity," a book of associations between the physical and metaphysical worlds with a preface by Ray Bradbury; the book was never published. In 1980, she supplied paintings to illustrate Overheard in a Bubble Chamber (1981), a book of science poems for children written by her close friend Lillian Morrison. The New Yorker magazine published three of her short stories: "Montegufoni" (1966), "Cot Number Eleven" (1968), and "Putu" (1972). Plans to bring together twelve stories in one volume were never realized.

Eyre de Lanux died in August 1996 at the age of 102.
Provenance:
The Eyre de Lanux papers were donated to the Archives of American Art by de Lanux's daughter Anne de Lanux Strong and grandson Paul Eyre in 1996.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- France -- Paris  Search this
Furniture designers -- New York (State) -- New York  Search this
Topic:
Portrait painters -- New York (State) -- New York  Search this
Portrait painters -- France -- Paris  Search this
Modernism (Art)  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women authors  Search this
Women painters  Search this
Women designers  Search this
Genre/Form:
Drawings
Photographs
Diaries
Sketches
Sound recordings
Citation:
Eyre de Lanux papers, 1865-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lanueyre
See more items in:
Eyre de Lanux papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93be3228e-6a54-4aa8-a122-a46448a5815b
EDAN-URL:
ead_collection:sova-aaa-lanueyre
Online Media:

Anna Walinska papers

Creator:
Walinska, Anna  Search this
Names:
Guild Art Gallery  Search this
Avery, Milton, 1885-1965  Search this
Beata, Welsing  Search this
Hacohen, Bracha  Search this
Littlefield, William Horace, 1902-1969  Search this
Nevelson, Louise, 1899-1988  Search this
Walinsky, Louis Joseph, 1908-2001  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Place:
Europe -- description and travel
Israel -- Description and Travel
Date:
1927-2002
bulk 1935-1980
Summary:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.

Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.

Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series. There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.

Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.

There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.

Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.

Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)

Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)

Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)

Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)

Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)

Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)

Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.

Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.

In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.

From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.

In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.

Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.

Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Occupation:
Gallery directors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Drawing--Study and teaching  Search this
Holocaust, Jewish (1939-1945), in art  Search this
Painting -- New York (State) -- New York  Search this
Asia--Description and travel  Search this
Middle East--Description and travel  Search this
Trinidad and Tobago--Description and travel  Search this
Women painters  Search this
Women artists  Search this
Women educators  Search this
Genre/Form:
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Citation:
Anna Walinska papers, 1927-2002, bulk 1935-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.walianna
See more items in:
Anna Walinska papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9995d1f6a-668f-4e1e-8abe-bb24edfb016b
EDAN-URL:
ead_collection:sova-aaa-walianna
Online Media:

Charles Henry Alston papers

Creator:
Alston, Charles Henry, 1907-1977  Search this
Names:
City University of New York. City College -- Faculty  Search this
Bearden, Anna Alston  Search this
Bearden, Romare, 1911-1988  Search this
Browne, Byron, 1907-1961  Search this
Lawrence, Jacob, 1917-2000  Search this
Logan, Myra, 1909-1977  Search this
Welty, Eudora, 1909-2001  Search this
Woodruff, Hale, 1900-1980  Search this
Wright, Louis T. (Louis Tompkins), 1891-1952  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1924-1980
Summary:
The scattered papers of African American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston measure 0.9 linear feet and date from 1924-1980. Included are biographical materials, correspondence, commission and teaching files, writings and notes, printed materials, and photographs. Notable correspondents include Romare Bearden, Byron Browne, Jacob Lawrence, and Hale Woodruff.
Scope and Content Note:
The scattered papers of African American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston (1907-1977) measure 0.9 linear feet and date from 1924-1980. The bulk of the collection documents his personal and professional relationships with figures of the Harlem Renaissance. Researchers should note that this collection contains very little documentation on Alston's actual federal WPA work with the Harlem Art Workshop, the Harlem Artists Guild, or his Harlem Hospital murals completed in 1940. A photograph of Alston in 1937 is likely the only reference to the actual WPA murals in this collection.

Scattered correspondence includes general correspondence; letters concerning Alston's artistic endeavors; and personal letters from friends and family. Found is a copy of a thank you note from Eudora Welty to John Woodburn for a jacket design presumably by Alston; letters from Harlem Renaissance figures and personal friends Romare Bearden, Byron Brown, Jacob Lawrence, and Hale Woodruff.

Commission files are for Alston's murals including those in the Golden State Mutual Life Insurance building in Los Angeles, California (1947); and the addition to the Harlem Hospital (1965); and the Family and Criminal Courts Building in the Bronx, New York (1976). There is one file concerning teaching at City College New York (CUNY).

Writings and notes includes scattered notes and three short stories probably by Alston entitled "Bitsy O'Wire," "Body and Soul," and "Gigi."

Printed materials include illustrations by Alston in the Columbia University literary magazine, The Morningside, and medical illustrations done for Dr. Louis T. Wright. Also found are scattered clippings, exhibition announcements, press releases, and materials from the First Conference on Aesthetic Responsibility.

Photographs are of Alston, Alston with his wife, Myra Logan, his mother Anna Alston Bearden, Romare Bearden, and Hale Woodruff. Photographs of note include one of Alston holding a self-portrait, and one of the artist in 1937 with works that are most likely preliminary sketches of his WPA murals at Harlem Hospital. There are also photographs of Alston's works of art.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Series 1: Biographical Information, 1924-1977 (Box 1; 3 folders)

Series 2: Correspondence, 1931-1977(Box 1; 7 folders)

Series 3: Commission and Teaching Files, 1947-1976 (Box 1; 4 folders)

Series 4: Writings and Notes, circa 1940s-1970s (Box 2-3; 4 folders)

Series 5: Printed Material, 1928, 1946-1980(Box 2-3; 5 folders)

Series 6: Photographs, 1925-1968 (Box 2; 2 folders)
Biographical Note:
Charles Henry Alston (1907-1977) worked primarily in New York city as a painter, muralist, illustrator, and educator. He was part of the Harlem Renaissance movement in the 1930s and helped form the Harlem Art Workshop and the Harlem Artists Guild.

Charles Henry "Spinky" Alston was born in Charlotte, North Carolina on November 28th, 1907. His parents were the Reverend Primus Priss and Anna Miller. After the death of his father, Alston's mother married Henry Pierce Bearden (Romare Bearden's uncle) in 1913 and the family moved to New York City.

At DeWitt Clinton High School in New York, Alston served as art editor of the school's literary magazine. Alston majored in fine arts and history at Columbia University, graduating in 1929. He became active in the Harlem community and accepted a position as director of Utopia House, a boy's camp, where he started an art program. He returned to Columbia and recieved a Masters degree in art education from Columbia's Teachers College. While still a student, he illustrated album covers for jazz musician Duke Ellington and book covers for poet Langston Hughes.

Alston played a major role in the Harlem Renaissance Movement of the period. During the Great Depression, he and sculptor Henry Bannarn directed the Harlem Art Workshop which was funded by the Works Progress Administration Federal Art Project. There he taught and mentored African American painter Jacob Lawrence and Romare Bearden, among others.

In the 1950s, Alston embarked on a series of portraits of African American figures. He also taught at the Art Students League and later with the City College of New York (CUNY). Along with his wife, Myra Logan, a surgeon at Harlem Hospital, Alston lived in Harlem and remained an active member of the community until the end of his life. Charles Alston died in 1977.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Charles Henry Alston, one conducted by Harlan Phillips on September 28, 1965 and another by Al Murray on October 19, 1968.

Additional Charles Henry Alston papers are located at the University of North Carolina's Southern Historical Collection at the Louis Round Wilson Special Collections Library.
Separated Material:
In 1970, Charles Alston loaned materials for microfilming, including correspondence with Henry Epstein, Langston Hughes, Robert Riggs, Harry Sternberg, J. Johnson Sweeney, Hale Woodruff and others. Also loaned for microfilming were sketchbooks, printed materials, and photographs. Subsequently, some of the photographs were later donated by Alston's sisters. The loaned materials are available only on microfilm reel N70-23 at Archives of American Art offices, and through interlibrary loan. These materials are not included in the container listing of this finding aid.
Provenance:
Charles Alston lent portions of the collection for microfilming in 1970. Aida Winters and Rousmaniere Alston Wilson, Charles Alston's sisters, donated additional materials to the Archives of American Art in 1982 and 1984.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Harlem Renaissance  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American sculptors  Search this
Genre/Form:
Photographs
Citation:
Charles Henry Alston papers, 1924-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alstchar
See more items in:
Charles Henry Alston papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9659f264f-7afb-4e05-bf28-ed3872b7cfea
EDAN-URL:
ead_collection:sova-aaa-alstchar
Online Media:

Irving Petlin papers

Creator:
Petlin, Irving, 1934-2018  Search this
Names:
Golub, Leon, 1922-2004  Search this
Kitaj, R. B.  Search this
Selz, Peter Howard, 1919-2019  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1952-2014
bulk 1970-1990
Summary:
The papers of painter Irving Petlin measure 3.0 linear feet and date from 1952-2014. Materials include correspondence with other artists and collaborators, galleries, friends, and family; notes by Petlin related to his artistic process; exhibition and project files regarding the war in Vietnam and other projects; exhibition catalogs, announcements, and clippings related to Petlin's work and group and solo museum and gallery shows; periodicals related to the art world; books featuring Petlin as an illustrator or inscribed by author or editor friends of Petlin's; sketches by Petlin; an Italian contemporary art award; a piece of the Peace Tower collaboration with Mark di Suvero and other artists; and photographs of Petlin's works, installations, and Petlin in a studio.
Scope and Contents:
The papers of painter Irving Petlin measure 3.0 linear feet and date from 1952-2014. Materials include correspondence with other artists and collaborators, galleries, friends, and family; notes by Petlin related to his artistic process; exhibition and project files regarding the war in Vietnam and other projects; exhibition catalogs, announcements, and clippings related to Petlin's work and group and solo museum and gallery shows; periodicals related to the art world; books featuring Petlin as an illustrator or inscribed by author or editor friends of Petlin's; sketches by Petlin; an Italian contemporary art award; a piece of the Peace Tower collaboration with Mark di Suvero and other artists; and photographs of Petlin's works, installations, and Petlin in a studio.
Arrangement:
The collection is arranged as 7 series.

Series 1: Correspondence, 1968-2002 (0.25 linear feet, Box 1)

Series 2: Writings, 1952-1984 (0.18 linear feet) Box 1)

Series 3: Exhibition Files, 1974-1988 (0.20 linear feet, Box 1)

Series 4: Project Files, 1980-1984, 2007 (0.17 linear feet, Box 1)

Series 5: Printed Material, 1962-2014 (2.09 linear feet Box 1, 2, 3)

Series 6: Artwork, circa 1966-1974 (0.07 linear feet, box 3, 4)

Series 7: Photographic Material, circa 1970s-1978 (0.04 linear feet, Box 4)
Biographical / Historical:
Irving Petlin (1934-2018) was a painter in Paris, France; New York, New York; and Martha's Vineyard, Massachusetts. Petlin was born in Chicago to Polish Jewish immigrants, attended the Art Institute of Chicago, and earned a MFA from Yale University. Petlin specialized in the medium of pastel, first gaining recognition in Paris after his service in the United States army. From there he went to Los Angeles, where he was principal organizer of the "Artists Protest Movement Against the War in Vietnam," and the 1966 "Peace Tower," with Mark di Suvero and other artists. Petlin and his wife, Sarah, a poet, moved to New York City for 28 years before returning to Paris. Petlin was heavily influenced by the political landscape around him and was an active member of the Art Workers' Coalition. He used allegory, mythology, and symbolism to illustrate politics and the human condition. He often collaborated on projects with other artists and was inspired by writers and poets. In the last decades of his life, Petlin split his time between his studio in Paris and his family's 18th century farmhouse in Martha's Vineyard continuing his work as an artist and activist.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Irving Petlin conducted by James McElhinney September 13 and 15, 2016.
Provenance:
The collection was donated in 2019 by Sarah Petlin.
Restrictions:
This collection is temporarily closed to researchers due to archival processing. 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:
Painters -- France -- Paris  Search this
Painters -- Massachusettes -- Martha's Vineyard  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Art and war  Search this
Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Irving Petlin papers, 1952-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.peltirvi
See more items in:
Irving Petlin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9096058f3-4b7d-4759-ba0d-e212757f6c50
EDAN-URL:
ead_collection:sova-aaa-peltirvi

Oral history interview with Juan Sánchez, 2018 October 1-2

Interviewee:
Sánchez, Juan, 1954-  Search this
Sánchez, Juan, 1954-  Search this
Interviewer:
Franco, Josh T., 1985-  Search this
Type:
Interviews
Sound recordings
Topic:
Mixed media (Art)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Latino and Latin American artists  Search this
Puerto Ricans -- New York (State) -- New York.  Search this
Record number:
(DSI-AAA_CollID)17606
(DSI-AAA_SIRISBib)396648
AAA_collcode_sanche18
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_396648

Oral history interview with Juan Sánchez

Interviewer:
Sánchez, Juan, 1954-  Search this
Franco, Josh T., 1985-  Search this
Extent:
9 Items (sound files (7 hr., 59 min.) Audio, digital, wav)
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2018 October 1-2
Scope and Contents:
An interview with Juan Sánchez conducted 2018 October 1-2, by Josh T. Franco, for the Archives of American Art, at Sánchez studio, in Brooklyn, New York.
Sanchez speaks of his childhood in Puerto Rican enclaves of Brooklyn; formative experiences with Nuyorican poets; early memories of Puerto Rico; his earliest interest in drawing from comic books; early art-making and art education experiences, including the Pratt Saturday program; encountering Taller Boricua during the time he studied at Cooper Union; drawing formative inspiration from En Foco's photography; flourishing after initial difficulties at Cooper Union; his graduate studies at Mason Gross School of the Arts at Rutgers University; his early exhibition experiences; his negative experience of participating in Group Material's exhibition Americana; reflections on political art; his friendship with Ana Mendieta; his collaborations with MoCHA , INTAR gallery, and Exit Art; the development of his painting, photography, and collage aesthetics through graduate school; the personal and emotional dimension of his art-making process; his use of circles and photographs of heroic historical figures in his paintings; the development and execution of his public art commissions; the development of his teaching career; his experiences working at the Queens Museum education department and Cooper Union admissions department; specific controversies over the content of his work being shown at Princeton University and SUNY Stony Brook; the development and execution of his printmaking practice; and his reflections on the experience and importance of participating in an oral history interview. Sanchez also recalls Amiri Baraka, Sandra María Esteves, Louis Reyes Rivera, Pedro Pietri, Gilbert Hernandez, Jorge Soto, Hans Haacke, Reuben Kadish, Eugene Tulchin, Charles Biasiny, Leon Golub, Larry Fink, Robert Blackburn, Mel Edwards, Doug Ashford, Jimmie Durham, Nancy Spero, Lucy Lippard, Geno Rodriguez, Papo Colo, Jayne Cortez, Carl Andre, Ana Mendieta, Raquelín Mendieta, Noah Jemison, Inverna Lockpez, Nilda Peraza, James Luna, Julia Hirschberg, Susana Leval, Miguel Algarín, Jeanetter Ingberman, Jolie Guy, Susan Bloodworth, Zachary Fabri, Gilbert Cardenas, Jeanne Moutoussamy-Ashe, Michael Brathwaite, Alfredo Jaar, Tomie Arai, Lorenzo Clayton, Joan Hall, Pepe Coronado, Maryanne Simmons, and Melquiades Rosario Sastre.
Biographical / Historical:
Juan Sánchez (1954- ) is a printmaker, muralist, painter, and teacher in Brooklyn, New York. Josh T. Franco (1985- ) is the National Collector, Archives of American Art, Smithsonian Institution, Washington, D.C.
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:
The transcript and recording are open for research. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- New York -- Interviews  Search this
Topic:
Mixed media (Art)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Latino and Latin American artists  Search this
Puerto Ricans -- New York (State) -- New York.  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.sanche18
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f02b111e-3cbf-4d7f-a0f8-afd9189b35e3
EDAN-URL:
ead_collection:sova-aaa-sanche18
Online Media:

Ralph M. Rosenborg papers

Creator:
Rosenborg, Ralph M., 1913-1992  Search this
Names:
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Willard, Marian, 1904-  Search this
Interviewer:
Roberts, Colette, 1910-  Search this
Roberts, Sam  Search this
Sandler, Irving, 1925-  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1935-1991
Scope and Contents:
Untranscribed interviews and recordings; four albums of photographs of Rosenborg's paintings, 1938-1980; and 9 scrapbooks, 1935-1991, containing clippings, letters, publicity, and photographs of Rosenborg.
The interviews of Rosenborg include: one conducted by Colette Roberts in 1968 for her "Meet the Artist" class taught a NYU (1 tape); one conducted by Irving Sandler in 1968 (3 tapes); and one conducted by Sam Roberts in 1967 concerning Rosenborg's European travels during 1966 (7 tapes and 3 duplicates). Also included are two tapes recorded in 1968 of Rosenborg reading a letter he wrote to his dealer Marian Willard; two tapes recorded in 1968 of Rosenborg reading letters that he wrote in 1966 to William Nyland from Europe; and two tapes of artist and poet Irene Rice Pereira reading her poetry.
Biographical / Historical:
Painter; New York, N.Y. Birthdate also cited as 1910.
Provenance:
Donated by Ralph and Margaret Rosenborg, 1992.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.roseralm
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9301a2fd6-fe5a-4df2-85ca-1330857df62f
EDAN-URL:
ead_collection:sova-aaa-roseralm

Dore Ashton papers

Creator:
Ashton, Dore  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Faculty  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Yale University -- Faculty  Search this
Adams, Pat, 1928-  Search this
Adley, James, 1931-  Search this
Albee, Edward, 1928-  Search this
Albers, Josef  Search this
Arnheim, Rudolf  Search this
Avedon, Richard  Search this
Berthot, Jake, 1939-  Search this
Borges, Jacopo Luis  Search this
Congdon, Dennis  Search this
Cornell, Joseph  Search this
Diebenkorn, Richard, 1922-1993  Search this
Driskell, David C.  Search this
Giacometti, Alberto, 1901-1966  Search this
Guidieri, Remo  Search this
Guston, Philip, 1913-1980  Search this
Hellman, Lillian, 1905-1984  Search this
Herbert, George  Search this
Hiss, Alger  Search this
Howes, Barbara  Search this
Kaprow, Allan  Search this
Licht, Fred, 1928-  Search this
Lindner, Richard, 1901-  Search this
Malamud, Bernard  Search this
Miró, Joan, 1893-  Search this
Motherwell, Robert  Search this
Moy, Seong  Search this
Mumford, Lewis, 1895-1990  Search this
Oldenburg, Claes, 1929-  Search this
Reuterswärd, Carl Fredrik, 1934-  Search this
Sterne, Hedda, 1910-  Search this
Tinguely, Jean, 1925-  Search this
Tobey, Mark  Search this
Tworkov, Jack  Search this
Vasilikos, Vasilēs, 1934-  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
35.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Sketchbooks
Transcripts
Date:
circa 1928-2014
1849
Summary:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.

The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.

Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.

The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1962-1978

Series 2: Correspondence, 1945-2010, undated

Series 3: Writings, 1952-1976, undated

Series 4: Research files, 1849, 1950-1984, 2009, undated

Series 5: Printed Materials, 1931-1981, undated

Series 6: Artwork, 1949, 1952, 1983, undated

Series 7: Photographs of Artwork, circa 1950-2010

Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.

Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.

Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Women art critics  Search this
Women art historians  Search this
Women authors  Search this
Women educators  Search this
Art criticism  Search this
Art, Modern  Search this
Art -- Study and teaching  Search this
Artists -- United States  Search this
Genre/Form:
Diaries
Photographs
Sketchbooks
Transcripts
Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96b23d022-d02d-4a06-ba62-e34c59ad25ae
EDAN-URL:
ead_collection:sova-aaa-ashtdore
Online Media:

Dorothy Dehner papers

Creator:
Dehner, Dorothy, 1901-1994  Search this
Names:
Philadelphia Art Alliance  Search this
Willard Gallery  Search this
Graham, John, 1887-1961  Search this
Smith, David, 1906-1965  Search this
Extent:
4.5 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Photographs
Date:
1920-1987
bulk 1951-1987
Summary:
The papers of Dorothy Dehner measure approximately 4.5 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents the life and work of the sculptor. Papers include extensive correspondence, business and financial papers, writings, interviews, printed material, photographs, student papers, one item of art work, and scattered personal papers and material relating to David Smith.
Scope and Content Note:
The papers of Dorothy Dehner measure approximately 4.5 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents the life and work of the sculptor. Papers include extensive correspondence, business and financial papers, writings, interviews, printed material, photographs, student papers, one item of art work, and scattered personal papers and material relating to David Smith.

Comprising a series of biographical material are interviews (mostly untranscribed), personal papers such as notes on Dehner's biography and career, list of things taken from Bolton Landing, recipes, and a wedding announcement for her stepdaughter, Abby Mann Thernstrom, and material relating to David Smith such as a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.

Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research (on David Smith, herself, and other artists of her era), and her many other creative activities, including her various writing efforts.

Found amongst Dehner's business and financial papers are records relating to various galleries and/or exhibitions, including the Willard Gallery and exhibitions at the Philadelphia Art Alliance and Parsons-Dreyfuss Gallery, and to various projects, such as the Committee for the American Participation in the Triennale and the Great Southwest Industrial Park, as well as scattered records relating to personal business matters and finances, such as lists, tax records, authentication of art works, and sales agreements.

Dehner's writings include poems (including one dated from high school and drafts of ones published in Tracks), various pieces on John Graham (including versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art and as an article in Leonardo) and on David Smith (including articles on their first meeting and on Smith's 1940 work, "Medals for Dishonor"), lectures and speeches, and various pieces on art and other topics. Writings shed light on other aspects of Dehner's creativity and concern. Also included are writings of others, some of which shed light on Dehner's life and work.

Also found amongst Dehner's papers are printed material, including exhibition catalogs, announcements, and clippings (on herself and Smith, and to a limited extent, on other artists); an undated etching by Dehner which seems to have originally belong to Garnett McCoy, former Curator of the Archives; and photographs of Dehner, her second husband, Ferdinand Mann, John Graham, and various works of art, as well as an abstract photograph by David Smith, dating from circa 1934.
Arrangement:
The Dorothy Dehner papers are arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1935-1982 (bulk 1950s-1982) (Box 1; 0.5 linear feet)

Series 2: Correspondence, 1927-1987 (Boxes 1-4; 2.6 linear feet)

Series 3: Business and Financial Papers, 1940-1985 (Box 4; 0.3 linear feet)

Series 4: Writings, 1920, 1951-1987 (Box 4; 0.3 linear feet)

Series 5: Printed Material, 1940-1987 (Boxes 4-5; 0.6 linear feet)

Series 6: Art Work, undated (OV1; 1 item)

Series 7: Photographs, 1930s-1986 (Box 5; 0.1 linear feet)

The collection has not been re-filmed to reflect the above arrangement. In an effort to provide continued access to the existing microfilm, microfilm reel information was gathered from previous box and folder labels and is provided, where possible, in parentheses after folder titles in the container listing below. Unfilmed material has likewise been noted. Researchers should note that reel numbers have not been verified.
Biographical Note:
Dorothy Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.

Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.

At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and ended up having a profound influence on them both and their work. Around this time, they also befriended other young artists, such as Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.

During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing; and in 1948, she had her first one-woman show at Skidmore College.

Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and print-making. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).

In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957; she continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups shows at museums and galleries across the country, and was acquired for both public and private collections.

In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. And two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.

Dehner continued to work into her nineties. She passed away in 1994.
Related Material:
Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D298 (portions), D298A, 1269 (portions) and 1372, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material. Lent materials were returned to the lender. To aid researchers, an attempt has been made to note the corresponding reel number for each folder in the collection container listing.
Provenance:
The Dorothy Dehner papers were donated 1967-1987 in increments by Dorothy Dehner. She also lent materials for microfilming between 1967 and 1977, some of which was subsequently donated. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Sculptors -- New York (State) -- New York  Search this
Topic:
Works of art  Search this
Sculpture, Modern -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Dorothy Dehner papers, 1920-1987 (bulk 1951-1987). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dehndoro
See more items in:
Dorothy Dehner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94755f855-b54f-4a52-a95c-a8c0d6e92ba7
EDAN-URL:
ead_collection:sova-aaa-dehndoro
Online Media:

Rose Slivka papers

Creator:
Slivka, Rose  Search this
Names:
American Craft Council  Search this
Craft Horizons  Search this
Craft International  Search this
World Crafts Council  Search this
De Kooning, Elaine  Search this
Guston, Philip, 1913-1980  Search this
Kunitz, Stanley, 1905-2006  Search this
Larsen, Jack Lenor  Search this
Nevelson, Louise, 1899-1988  Search this
Slivka, David, 1913-  Search this
Voulkos, Peter, 1924-2002  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
20.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sound recordings
Video recordings
Date:
circa 1947-2006
Summary:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.
Scope and Contents:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include artwork, views of Slivka, and craftspeople she observed when traveling abroad.

Interviews with craftsmen and other artists were conducted by Rose Slivka and others. Peter Voulkos is espcially well-documented. Among the artists interviewed are: Elaine de Kooning, Philip Guston, Jack Lenor Larsen, Louise Nevelson, and David Slivka. Also found are intereviews with John Cage, Stanley Kunitz, and Rose Slivka.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1947-2005 ( Box 1; 0.6 linear feet)

Series 2: Correspondence, 1950-2004 (Boxes 1-4: 3.6 linear feet)

Series 3: Interviews, 1974-2001 (Boxes 5-6; 1.6 linear feet)

Series 4: Writings, Notes, and Related Research, 1954-2001 (Boxes 6-11, OV 23; 4.8 linear feet)

Series 5: Subject Files, 1958-2004 (Boxes 11-18, 22, OV 23; 7.4 linear feet)

Series 6: Printed Material, 1952-2006 (Boxes 18-20, OV 23; 1.9 linear feet)

Series 7: Photographs, circa 1947-1990s (Boxes 20-21; 1 linear feet)
Biographical / Historical:
Crafts expert Rose Slivka (1919-2004) was an editor, educator, and critic in New York City and East Hampton, NY. Slivka edited Craft Horizons magazine from 1957-1979, and then founded Crafts International, which published its first issue in 1980.

Rose Slivka was very active in the American Crafts Council and World Crafts Council, and promoted crafts by participating in conferences around the world, acting as a juror of competitions, writing, and teaching. The author of books and articles about crafts, including the entry on "Handicrafts" in the 1961 edition of Encyclopedia Britannica, Slivka was tireless in her search for information pertaining to crafts of all nations. Her study of the subject was integrated into a strong, far-reaching campaign to include sculpture as a craft and promote crafts on a par with fine art. She was also interested in poetry and taught courses in art criticism at New York University and the New School for Social Research.

Many of Slivka's articles on craft, painting and sculpture have been published in periodicals such as Art in America, Architectural Digest, and The New York Times. Books and exhibition catalogs include The Crafts of the Modern World (1964); The Object as Poet (1976), Renwick Gallery, Washington, DC; Peter Voulkos: A Dialogue in Clay (1978); California Clay (1979), Stedelijk Museum, Amsterdam; and The Book as Art and Artist (1979), Elaine Benson Gallery, Bridgehampton, NY. Slivka's writings have been translated into at least 7 languages.

Slivka was awarded the National Endowment for the Arts Critics Fellowship in 1976 and between 1980 and 1982 conducted a research project on "Criticism and Scholarship in Modern Craft" also sponsored by the National Endowment for the Arts. She was awarded The Rhode Island School of Design President's Fellows Award in 1982, and its highest honor, the Athena Medal. In addition, she served on the boards of directors for several New York City organizations including Clayworks Studio Workshop, New York Experimental Glassworks, and Center for Book Arts.

Following her career as a magazine editor, international speaker on crafts, writer, and educator, Slivka moved to East Hampton, Long Island, where she continued to write poetry and was art critic for The East Hampton Star newspaper.

Rose Slivka's was married to sculptor David Slivka; the couple had 2 children and eventually divorced. She died of heart failure in Southampton, NY, on September 2, 2004.
Provenance:
The Rose Slivka papers were donated to the Archives of American Art by Slivka's daughter, Charlotte Slivka, in 2008 and 2012.
Restrictions:
Use of original materials requires an appointment and is limited to the Archives' Washington D.C. research center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Editors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Interviews  Search this
Women authors  Search this
Women art critics  Search this
Women educators  Search this
Genre/Form:
Photographs
Diaries
Sound recordings
Video recordings
Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.slivrose
See more items in:
Rose Slivka papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e61796b1-d82d-43f5-bf61-c595421a8fd0
EDAN-URL:
ead_collection:sova-aaa-slivrose

Oral history interview with Allan Sekula

Interviewee:
Sekula, Allan  Search this
Interviewer:
Panzer, Mary  Search this
Names:
Artforum  Search this
California Institute of the Arts  Search this
Ohio State University -- Faculty  Search this
Rhode Island School of Design  Search this
Students for a Democratic Society (U.S.)  Search this
University of California, San Diego  Search this
Altoon, John, 1925-  Search this
Antin, David  Search this
Antin, Eleanor  Search this
Ascott, Roy  Search this
Baldessari, John, 1931-  Search this
Barthes, Roland  Search this
Becker, Howard  Search this
Bercovitch, Sacvan  Search this
Beveridge, Karl  Search this
Brach, Paul, 1924-  Search this
Braderman, Joan  Search this
Burch, Noël, 1932-  Search this
Burn, Ian, 1939-1993  Search this
Captain Beefheart  Search this
Charlesworth, Sarah, 1947-2013  Search this
Chayefsky, Paddy, 1923-1981  Search this
Conde, Carol  Search this
Connell, Brian  Search this
Diddley, Bo, 1928-2008  Search this
Evans, Walker, 1903-1975  Search this
Farber, Manny  Search this
Feldman, Ronald, 1938-  Search this
Folks, Homer, 1867-1963  Search this
Fox, Terry, 1943-  Search this
Fried, Howard, 1946-  Search this
Ginsberg, Allen, 1926-1997  Search this
Graham, Dan, 1942-  Search this
Graves, Michael, 1934-2015  Search this
Halleck, DeeDee  Search this
Hanhardt, John G.  Search this
Hassan, Ihab, 1925-2015  Search this
Hayes, Woody, 1913-1987  Search this
Heinecken, Robert, 1931-  Search this
Higgins, Dick, 1938-1998  Search this
Hine, Lewis Wickes, 1874-1940  Search this
Kienholz, Edward, 1927-  Search this
Kirschenbaum, Baruch David, 1931-  Search this
Knowles, Alison, 1933-  Search this
Kosuth, Joseph.  Search this
Kozloff, Max  Search this
Kramer, Hilton  Search this
Krauss, Rosalind E.  Search this
König, Kasper  Search this
Liebling, Jerome  Search this
Lifson, Ben  Search this
Little Richard, 1932-  Search this
Lonidier, Fred  Search this
Lord, Catherine, 1949-  Search this
Lunn, Harry, 1933-1998  Search this
Mac Low, Jackson  Search this
Mandel, Mike  Search this
Matta, 1912-2002  Search this
Mayer, Grace M.  Search this
Michelson, Annette  Search this
O'Doherty, Brian  Search this
Pommer, Richard  Search this
Ramsden, Mel  Search this
Raskin, Jef  Search this
Reagan, Ronald  Search this
Rosler, Martha  Search this
Ross, David A., 1949-  Search this
Ruby, Jay  Search this
Ruscha, Edward  Search this
Salle, David, 1952-  Search this
Salvesen, Britt  Search this
Schimmel, Paul  Search this
Segalove, Ilene, 1950-  Search this
Stein, Sally  Search this
Steinmetz, Philip  Search this
Sultan, Larry  Search this
Van Riper, Peter  Search this
Wakoski, Diane  Search this
Wall, Jeff, 1946-  Search this
Extent:
12 Items (Sound recording: 12 sound files (6 hr.,14 min.), digital, wav)
143 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2011 August 20-2012 February 14
Scope and Contents:
An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.
Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.
Biographical / Historical:
Allan Sekula (1951-2013) was a photographer, filmmaker, and writer, based at the California Institute of the Arts in Valencia, California. Mary Panzer (1955- ) is a historian 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.
Occupation:
Photographers -- California  Search this
Filmmakers -- California  Search this
Authors -- California  Search this
Topic:
Activism  Search this
Antisemitism  Search this
Architecture  Search this
Art -- Exhibitions -- Economic aspects  Search this
Art -- History  Search this
Art, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Conceptual art  Search this
Documentary photography  Search this
Korean War, 1950-1953  Search this
Music -- New York (State) -- New York  Search this
Photography  Search this
Realism  Search this
World War, 1914-1918  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.sekula11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d657e5da-cd1b-4366-9fe9-1852a4c5be81
EDAN-URL:
ead_collection:sova-aaa-sekula11
Online Media:

Oral history interview with Bill Berkson

Interviewee:
Berkson, Bill  Search this
Interviewer:
Leddy, Annette  Search this
Extent:
5 Items (Sound recording: 5 sound files (6 hr., 15 min.), digital, wav)
96 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2015 September 29-October 2
Scope and Contents:
An interview of Bill Berkson conducted 2015 September 29-October 2, by Annette C. Leddy, for the Archives of American Art, at the Archives of American Art in New York, New York.
Berkson speaks of his friendships with second and third generation New York School artists and poets, changes in the art world from 1960 to the present, and the relationship between writing poetry and art criticism.
Biographical / Historical:
Bill Berkson (1939- ) is a poet and art critic in San Francisco, California and New York, New York. Annette Leddy is a collector for the Archives of American Art.
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:
Art critics -- California -- San Francisco -- Interviews  Search this
Art critics -- New York (State) -- New York -- Interviews  Search this
Topic:
New York school of art  Search this
Poets -- California -- San Francisco -- Interviews  Search this
Poets -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.berkso15
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw900d2305b-305b-48e7-90cf-c5bbbfb88bd4
EDAN-URL:
ead_collection:sova-aaa-berkso15
Online Media:

Oral history interview with Fairfield Porter, 1968 June 6

Interviewee:
Porter, Fairfield, 1907-1975  Search this
Porter, Fairfield, 1907-1975  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Subject:
Coryllis, Peter  Search this
Benton, Thomas Hart  Search this
De Kooning, Elaine  Search this
De Kooning, Willem  Search this
Greenberg, Clement  Search this
Hess, Thomas B.  Search this
Katz, Alex  Search this
Maroger, Jacques  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Modern -- 20th century -- New York (State)  Search this
Art criticism -- United States  Search this
Painters -- New York (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12873
(DSI-AAA_SIRISBib)211982
AAA_collcode_porter68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211982
Online Media:

Oral history interview with Herman Cherry, 1989 May 8-1992 March 19

Interviewee:
Cherry, Herman, 1909-1992  Search this
Cherry, Herman, 1909-1992  Search this
Interviewer:
Tully, Judd  Search this
Subject:
Club (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11623
(DSI-AAA_SIRISBib)215551
AAA_collcode_cherry89
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215551

Oral history interview with Stanley Kunitz, 1983 Dec. 8

Interviewee:
Kunitz, Stanley, 1905-2006  Search this
Kunitz, Stanley, 1905-2006  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
Rothko, Mark  Search this
Mark Rothko and His Times Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Abstract expressionism  Search this
Record number:
(DSI-AAA_CollID)12071
(DSI-AAA_SIRISBib)215639
AAA_collcode_kunitz83
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215639
Online Media:

Oral history interview with Pat Steir, 2008 March 1-2

Interviewee:
Steir, Pat, 1940-  Search this
Steir, Pat, 1940-  Search this
Interviewer:
Richards, Judith Olch, 1947-  Search this
Type:
Sound recordings
Interviews
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)13682
(DSI-AAA_SIRISBib)274901
AAA_collcode_steir08
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_274901
Online Media:

Oral history interview with Emma Amos, 2011 November 19-26

Interviewee:
Amos, Emma, 1937-2020  Search this
Amos, Emma, 1937-2020  Search this
Interviewer:
Jones, Patricia Spears, 1951-  Search this
Type:
Sound recordings
Interviews
Topic:
African American artists  Search this
African American painters  Search this
African American printmakers  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Theme:
Women  Search this
African American  Search this
Record number:
(DSI-AAA_CollID)16018
(DSI-AAA_SIRISBib)306088
AAA_collcode_amos11
Theme:
Women
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_306088
Online Media:

Oral history interview with Bill Berkson, 2015 September 29-October 2

Interviewee:
Berkson, Bill, 1939-2016  Search this
Berkson, Bill, 1939-2016  Search this
Interviewer:
Leddy, Annette C.  Search this
Type:
Interviews
Sound recordings
Topic:
New York school of art  Search this
Poets -- California -- San Francisco -- Interviews  Search this
Poets -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)16296
(DSI-AAA_SIRISBib)373539
AAA_collcode_berkso15
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_373539
Online Media:

Oral history interview with Emma Amos

Interviewee:
Amos, Emma, 1937-2020  Search this
Interviewer:
Jones, Patricia Spears, 1951-  Search this
Extent:
5 Items (Sound recording: 5 sound files (3 hr., 27 min.))
52 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2011 November 19-26
Scope and Contents:
An interview of Emma Amos conducted 2011 November 19-26, by Patricia Spears Jones, for the Archives of American Art, at Amos' studio, in New York, New York.
Biographical / Historical:
Emma Amos (1937-2020) was a painter and printmaker in New York, New York. Patricia Spears Jones (1951- ) is a poet and writer in Brooklyn, New York.
General:
Originally recorded as 5 sound files. Duration is 3 hr., 27 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
African American painters  Search this
African American printmakers  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.amos11
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e317be3e-c555-40b3-94b3-c93d7e77b3fa
EDAN-URL:
ead_collection:sova-aaa-amos11
Online Media:

Oral history interview with Pat Steir

Interviewee:
Steir, Pat, 1940-  Search this
Interviewer:
Richards, Judith Olch  Search this
Extent:
92 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2008 March 1-2
Scope and Contents:
An interview of Pat Steir conducted 2008 March 1-2, by Judith Olch Richards, for the Archives of American Art, at Steir's home, in New York, N.Y.
Steir speaks of her parents' history and various occupations; her Russian Jewish background; her early desire to become a poet or artist; the lack of encouragement from both her parents; memories of earlier interactions with a number of influential figures; rejecting a scholarship offer to go to Smith College for a scholarship to study art at Pratt Institute; studying art at Boston University; illustrating for Harper & Row; her experiences and reflections as a female artist struggling to get recognition equal to that of her male counterparts; teaching at Parsons School of Design; living in Pasadena, California and teaching at CalArts; traveling to Europe, China, Japan, and India; opening a studio in Amsterdam; her involvement with the feminist movement; working as an editor at Semiotext magazine and how that launched her into starting a private company called Printed Matter, designing books; traveling to the Southwest and the influence of the Navajo culture on her work; her relationships with various performing artists; her interns and teaching; how she got involved with printmaking; her preference for oil-based paints rather than acrylic; printmaking as a major art form; how her relationship with dealers changed over time; how her work was seen and promoted in Europe; exhibiting at Paley & Lowe; working with large canvases; her interest in reacquiring her sold works; influences from Japonism, Impressionism, Modernism, and Postmodernism; the influence of Chinese and Japanese art, process, and technique; the significance of her Brueghel paintings; her artistic process and techniques; her interest in the romance of art history; almost giving up painting; working with Cheim & Read; her current exhibition at the Ochi Gallery in Idaho; the future of her work; the struggle for women to gain critical attention in the art world; the fusion of the art world and fashion; and her love and zeal for fashion. Steir also recalls Agnes Martin, Mark Rothko, Dick Solomon, Joan Mitchell, Brigitte Cornand, Louise Bourgeois, Lucy Lippard, Flora Biddle, Willem de Kooning, Marcia Tucker, Joan Snyder, Miriam Schapiro, and others.
Biographical / Historical:
Pat Steir (1938- ) is a painter and printmaker in New York, N.Y. Judith Olch Richards (1947- ) is the former executive director for iCI in New York, N.Y.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 3 hr., 47 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.steir08
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a9ed3fce-9247-4522-a0ad-72d9164cdb09
EDAN-URL:
ead_collection:sova-aaa-steir08
Online Media:

Modify Your Search







or


Narrow By