Search Results

Artist:

Roy Lichtenstein, American, b. New York City, 1923–1997  Search this

Medium:

Oil and magna on canvas

Dimensions:

48 1/8 × 68 in. (122.3 × 172.7 cm)

Type:

Painting

Date:

1967

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number:

86.3042

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Pop Art (American)

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2c33662d4-94d2-4642-a887-575efe1cd772

EDAN-URL:

edanmdm:hmsg_86.3042

Creator:

Holly Solomon Gallery  Search this

Names:

98 Green St. Loft  Search this

Anderson, Laurie, 1947-  Search this

MacConnel, Kim  Search this

Paik, Nam June, 1932-  Search this

Patkin, Izhar  Search this

Solomon, Holly  Search this

Wegman, William  Search this

Zucker, Joe, 1941-  Search this

Extent:

200.6 Linear feet

0.002 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Diaries

Interviews

Video recordings

Sound recordings

Daybooks

Date:

circa 1948-2003

Summary:

The records of Holly Solomon Gallery, a New York City gallery specializing in contemporary American art, measure 200.6 linear feet and 0.002 GB and date from circa 1948-2003. The gallery's activities are documented through dealer files, subject files, artists' files, inventories, sales and loan records, administrative and financial records, printed and digital materials, photographic materials of artwork and exhibitions, and sound, video, and film recordings. Also found are records of the alternative space, 98 Greene Street Loft, as well as Holly Solomon's personal papers.

Scope and Content Note:

The records of Holly Solomon Gallery, a New York City gallery specializing in contemporary American art, measure 200.6 linear feet and 0.002 GB and date from circa 1948-2003. The gallery's activities are documented through alphabetical files, dealer files, subject files, artists' files, inventories, sales and loan records, administrative and financial records, printed and digital materials, photographic materials of artwork and exhibitions, and sound, video, and film recordings. Also found are records of the alternative space, 98 Greene Street Loft, as well as Holly Solomon's personal papers.

Alphabetical files span from 1991-2000 and contain correspondence with clients, galleries, and museums, as well as related documentation regarding loans, inquiries, sales, exhibitions, and travel plans. These general files were maintained separately from the gallery's subject and artists' files but may overlap in subject matter.

The dealer files contain gallery correspondence to and from art dealers regarding inquiries on works and artists. These files are sparse and particular to the early 1980s. Subject files are mainly comprised of correspondence but also include printed materials, slides, and other related documents. Subjects include dealers, organizations, museums, clients, art fairs, travel, and projects that the gallery or Holly Solomon worked with.

Artists' files consist of correspondence, printed material, slides, photographs, and scattered inventory records, regarding the sale of artwork, as well as shipping records and insurance claims. Also included is correspondence between the gallery and the artist. There is substantial documentation on artists Kim MacConnel, Nam June Paik, Izhar Patkin, William Wegman, and Joe Zucker. Inventory records include inventory lists created by Holly Solomon Gallery as well as an art inventory card file. Inventory cards note the title, date, and size of the work as well as the dates and movements of the work, and may include a photograph. Some documents are also found in digital format in series 14, Born-digital records.

Administrative records contain general office materials such as phone messages books, staff notebooks, exhibition guest books, and business diaries, exhibition documentation, notes, and mail from prospective artists. Records primarily cover the 1980s and 1990s. In addition to business diaries, Holly Solomon also created "Dear Diary" binders which contain a collection of contact information and notes on clients and events. Some of these diaries were maintained for specific events. Some documents are also found in digital format in series 14, Born-digital records.

Sales and loan records consist of in and out sheets, consignments, and sales invoices. Also in this series are sales and loan logs and files that track the same information but from different access points, including sales by artist. Financial records document the financial activities of the galleries, apart from sales, and include shipping records, tax and insurance information, and accounting statements and reports. Also in this series are sales and loan logs and files that track the same information but from different access points, including sales by artist. Some documents are also found in digital format in series 14, Born-digital records.

Printed material consists of artist clippings, gallery exhibition catalogs, press releases, posters, and miscellaneous books, magazines, and clippings regarding the gallery. Included are clippings pertaining to the Pattern and Design art movement. Photographic material includes photographs and slides documenting artists' work and gallery exhibitions. Sound, video, and film recordings include artworks created by gallery artists, performances recorded live at the gallery, and the publicity Holly Solomon, the gallery and its artists received. The work of video artist Nam June Paik is highly represented through some of his video artworks, as well as television interviews with him. Prominent artists William Wegman and Laurie Anderson are also represented through original artworks and publicity. Publicity videos include Holly Solomon herself, being interviewed for television and documentaries.

The records of 98 Greene Street Loft include a large quantity of sound, video, and film recordings of poetry readings, live music, art, and theatrical performances that took place from 1971-1973, as well as scattered paper records such as play scripts, photographs, a guest book from 1971, printed material, and posters.

Holly Solomon's personal papers consist of biographical documents, correspondence, memorabilia, printed material, motion picture film, and photographs collected by Holly Solomon throughout her life. Included are school records, letters, notes and cards from friends and artists she represented at her gallery, photographs, invitations, event fliers, and other mementos. Printed material, mostly magazines and newspapers document her accomplishments.

Sound and video recordings include recordings collected by the Holly Solomon Gallery documenting the gallery itself and the artists it represented. Recordings include artworks created by gallery artists, performances recorded live at the gallery, and the publicity Holly Solomon, the gallery and its artists received. The recordings range from before the gallery's opening in 1975 until after its closure in 2002, with most recordings coming out of the 80s and 90s. The work of video artist Nam June Paik is highly represented within the series through some of his actual video artworks, as well as through numerous documentaries and television interviews with him. Prominent artists William Wegman and Laurie Anderson are both represented through original artworks and publicity.

Born-digital records consist of documents recovered from floppy discs included in the collection.

Arrangement:

The collection is arranged as 14 series:

Missing Title

Series 1: Alphabetical Files, 1991-2001 (Boxes 1-9; 8.5 linear feet)

Series 2: Dealer Files, 1980-1990 (Box 9-10; 1.5 linear feet)

Series 3: Subject Files, circa 1975-2002 (Boxes 11-25; 15.0 linear feet)

Series 4: Artists' Files, circa 1975-2002 (Boxes 26-47; 22.0 linear feet)

Series 5: Inventory Records, 1975-2001 (Boxes 48-66, 157-162; 25.0 linear feet)

Series 6: Administrative Records, circa 1980-2003 (Boxes 67-81, OV 202; 15.1 linear feet)

Series 7: Sales and Loan Records, circa 1975-2001 (Boxes 82-87; 6.0 linear feet)

Series 8: Financial and Legal Records, circa 1969-2001 (Boxes 88-114, 191, 192; 27.7 linear feet)

Series 9: Printed Material, circa 1968-2002 (Boxes 115-135, 193-194, OV 203-222, RD 223; 23.5 linear feet)

Series 10: Photographic Material, circa 1969-2000 (Boxes 136-156, 194-196, 201, OV 224; 22.2 linear feet)

Series 11: 98 Greene Street Loft, circa 1969-1973 (Boxes 166-169, 194, FC 197-200, FC 228-236, OV 225-227; 5.6 linear feet)

Series 12: Holly Solomon Personal Papers, circa 1948-2002 (Boxes 170-182, 194, FC 237-241; 13.6 linear feet)

Series 13: Sound and Video Recordings, circa 1966-2001 (Boxes 183-190; 7.6 linear feet)

Series 14: Born-Digital Records, (ER01-ER04; 0.002 GB)

The collection has been minimally arranged into series based on the found arrangement upon receipt, assumed to be the original arrangement of the gallery. Folders have been arranged within series and general folder contents verified, but in most cases, item level arrangement has not been completed.

Historical Note:

The Holly Solomon Gallery was established in 1975 by Holly Solomon and her husband, Horace Solomon, at 392 West Broadway in New York City's SoHo area. The gallery focused on contemporary art.

The gallery represented artists such as William Wegman, Nam June Paik, Laurie Anderson, and Robert Kushner. In 1983, the gallery moved uptown to 724 Fifth Ave at 57th, but then moved again in the early 1990s back downtown to SoHo at 172 Mercer Street. After the gallery closed Holly Solomon continued to deal art from the Chelsea Hotel until her death in 2002.

Holly Solomon was born Hollis Dworken in Bridgeport, Connecticut in 1934. She started college at Vassar College, and later transferred to Sarah Lawrence College where she graduated in 1955. In 1953 she married Horace Solomon. Holly Solomon was an aspiring stage actress and was enrolled at Lee Strasberg's Actor's Studio shortly after moving to Manhattan. Although she was not a successful actress she and her husband began collecting art and were fans of the Pop Art movement. In 1969 the couple opened an alternative work and performance space for artists named 98 Greene Street Loft. The space provided a venue for poets, actors, and artists to work and perform. Solomon wrote and produced a five part documentary from performances at 98 Greene Street, and in 1972 it was shown at the Edinburgh International Film Festival. 98 Greene Street Loft closed in 1973. Holly Solomon was also a proponent of the Pattern and Decoration, or "P and D", art movement of the late 1970s and early 1980s. Many of the artists featured in her gallery were involved in the P and D movement including Robert Kushner, Kim MacConnel, Ned Smyth, and Brad Davis.

Provenance:

The collection was donated in 2010 by Thomas and John Solomon, Holly Solomon's sons.

Restrictions:

This collection is access restricted. Use requires written permission. Financial and Legal Records (Series 8) are closed to researchers until they can be processed to a more detailed level. Contact Reference Services for more information.

Rights:

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

Topic:

Visitors' books  Search this

Photographs  Search this

Notebooks  Search this

Motion pictures (visual works)  Search this

Video art  Search this

Performance art  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Diaries

Interviews

Video recordings

Sound recordings

Daybooks

Citation:

Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hollsolg

See more items in:

Holly Solomon Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b3fbe722-ce35-4577-b82a-1e3469c1317d

EDAN-URL:

ead_collection:sova-aaa-hollsolg

Creator:

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

Subject:

Kootz, Samuel M.  Search this

Hare, David  Search this

Picasso, Pablo  Search this

Hofmann, Hans  Search this

Baziotes, William  Search this

Motherwell, Robert  Search this

Type:

Scrapbooks

Citation:

Kootz Gallery records, 1923-1966. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Modernism (Art)  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9163

(DSI-AAA_SIRISBib)211357

AAA_collcode_kootgall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211357

Creator:

Johnson, Ellen H.  Search this

Names:

Allen Memorial Art Museum  Search this

American-Scandinavian Foundation  Search this

College Art Association (U.S.)  Search this

Oberlin College -- Faculty  Search this

Archipenko, Alexander, 1887-1964  Search this

Cézanne, Paul, 1839-1906  Search this

Dine, Jim, 1935-  Search this

Hesse, Eva, 1936-1970  Search this

Kensett, John Frederick, 1816-1872  Search this

Milles, Carl, 1875-1955  Search this

Oldenburg, Claes, 1929-  Search this

Picasso, Pablo, 1881-1973  Search this

Saunders, David  Search this

Stieglitz, Alfred, 1864-1946  Search this

Tacha, Athena, 1936-  Search this

Tworkov, Jack  Search this

Venturi, Robert  Search this

Wilke, Wendell  Search this

Extent:

61.5 Linear feet

Type:

Collection descriptions

Archival materials

Place:

Ossabaw Island (Ga.)

Date:

1872-2018

bulk 1921-1992

Summary:

The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 61.5 linear feet and date from 1872-2018, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists. There is a 0.2 linear foot unprocessed addition to this collection donated in 2021 that includes letters to Ellen Johnson from others, letters from Johnson to Carl Gerber, and a sketch by Johnson. Materials date from circa 1956-1991.

Scope and Contents:

The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 61.5 linear feet and date from 1872-2018, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists. There is a 0.2 linear foot unprocessed addition to this collection donated in 2021 that includes letters to Ellen Johnson from others, letters from Johnson to Carl Gerber, and a sketch by Johnson. Materials date from circa 1956-1991.

Personal papers consist of biographical materials and personal and family files, including "memorabilia" files compiled by Johnson. Correspondence is a mix of personal, business, and professional correspondence. Significant correspondents include David Saunders (who painted a portrait of Johnson), Claes Oldenburg, Jack Tworkov, Robert Venturi, the American Scandinavian Foundation. A folder of correspondence compiled for the Archives includes letters from Alfred Stieglitz, Wendell Wilkie, Carl Milles, Jim Dine, and Alexander Archipenko.

Extensive and comprehensive writing and research project files include articles, lectures, presentations, manuscripts, notes and notebooks, including her class notebooks from courses she attended in Paris in 1935, and additional notes and notebooks on a wide variety of subjects. The numerous articles, lectures, papers, and drafts were written primarily by Johnson for the College Art Association, the Allen Memorial Art Museum bulletin, and numerous additional publications and presentations; but there are also writings by others included in the research files. Major writing projects and related research files cover Scandinavian art, the Ossabaw Island artist's colony, Cezanne, Eva Hesse, John Frederick Kensett, Claes Oldenburg, Picasso, David Saunders, Athena Tacha, Pop Art, and many other topics. Johnson's research files, manuscripts, correspondence, and photographs for major exhibitions, including one on Eva Hesse (1982) and for her published books including American Artists on Art from 1940-1980 (1982), Claes Oldenburg (1971), Fragments Recalled at 80: The Art Memoirs of Ellen H. Johnson (1993), and Modern Art and Object (1976) are arranged with the writing project files. Johnson's bibliographic index cards are found here as well.

The collection contains extensive teaching files for courses taught by Johnson at Oberlin and as a visiting professor at other institutions; professional and curatorial files reflecting her curatorial career at Allen Memorial Art Museum, as a consultant, jury member, and continuing education courses she later attended, including the Baldwin Lecture Series; and 18 linear feet of artist's files assembled by Johnson.

Arrangement:

The Ellen Hulda Johnson papers are arranged into seven series:

Missing Title

Series 1: Personal Papers, circa 1905-2009 (5 linear feet; Boxes 1-2, 56-59)

Series 2: Correspondence, 1927-2009 (5.5 linear feet; Boxes 3-7, 60)

Series 3: Writing and Research Projects, 1872, 1932-1994 (15.5 linear feet; Boxes 7-20, 56, 61-62)

Series 4: Subject Files, 1930-1993 (5 linear feet; Boxes 21-25, 62)

Series 5: Teaching Files, 1928-1989 (6 linear feet; Boxes 26-31, 62)

Series 6: Professional and Curatorial Files, 1936-1991 (6 linear feet; Boxes 32-37, 56)

Series 7: Artists Files, 1935-1992 (18.3 linear feet; Boxes 37-55, 62)

Series 8: Unprocessed Addition, 1956-1991 (0.2 linear feet; Box 63)

Biographical / Historical:

Ellen Hulda Johnson (1910-1992) was an art historian, critic, and professor who worked and taught at Oberlin College in Ohio for most of her career.

Ellen Hulda Johnson was born in 1910 in Warren, Pennsylvania. She received her Bachelor's and Master's degrees in art history at Oberlin in 1933 and 1935. She worked briefly at the Toledo Museum of Art before returning to Oberlin as the art librarian. In 1940 she started Oberlin's art rental program, the first of its kind in the country. She was appointed to the faculty in 1948 and taught nineteenth and twentieth century art, American art from colonial times to the present, contemporary art, and Scandinavian art. She was a member of the Allen Memorial Art Museum's acquisition committee and was appointed honorary curator of modern art in 1973. She remained at Oberlin her entire career, retiring from teaching in 1977.

Johnson was a scholar of Cézanne, Claes Oldenburg, Eva Hesse, Pablo Picasso, Edvard Munch, John F. Kensett and other modern masters, as well as Scandinavian art. In 1962 she wrote the first important article on Claes Oldenburg and, in 1970, assisted curator Athena Tacha commission his first permanent large sculpture (3-Way Plug) for the grounds of the Allen Memorial Art Museum. She was the first to show the black-striped paintings that established Frank Stella's reputation. Her efforts in promoting acquisitions of young contemporary artists helped make the Allen Memorial Art Museum a leading institution in contemporary art. Her Oberlin lectures on modern art became so popular that they had to be held in the college's largest auditorium and influenced generations of students, many of whom went on to signficant positions in the field. A new wing of the museum designed by Robert Venturi opened in 1977 and was named in honor of Johnson.

Johnson was the author of numerous articles, books, and exhibition catalogs including Cezanne (Penquin, 1967); Claes Oldenburg (Penquin, 1971); American Artists on Art from 1940-1980 (Harper and Row, 1982); and Modern Art and the Object (Thames and Hudson, 1976).

In 1968, Johnson purchased the Frank Lloyd Wright-designed Weltzheimer house in Oberlin, and spent a considerable part of her time and money restoring the building where she lived the rest of her life. She bequethed the house and her significant art collection to Oberlin upon her death in 1992.

Related Materials:

Papers of Ellen H. Johnson, 1933-1992, are also located at Oberlin College Archives.

Separated Materials:

Shortly after aquisition, the Archives transferred Ellen Hulda Johnson's vertical file (16 linear feet) of clippings, press releases, and exhibition announcements to the library of the Smithsonian American Art Museum and National Portrait Gallery.

Provenance:

The Ellen Hulda Johnson papers were donated in 1994, 1998, 2019 and 2021 by the estate of Ellen Hulda Johnson via exectutor Athena Tacha.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington D.C. Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:

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

Occupation:

Librarians -- Ohio  Search this

Authors -- Ohio  Search this

Art critics -- Ohio  Search this

Art historians -- Ohio -- Oberlin  Search this

Educators -- Ohio -- Oberlin  Search this

Topic:

Art, Scandinavian  Search this

Art -- Study and teaching  Search this

Art, Modern -- 19th century -- Study and teaching  Search this

Art, Modern -- 20th century -- Study and teaching  Search this

Pop art  Search this

Women authors  Search this

Women art critics  Search this

Women art historians  Search this

Women educators  Search this

Function:

Artist colonies -- Georgia

Citation:

Ellen Hulda Johnson papers, 1872-2018, bulk 1921-1992. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.johnelle

See more items in:

Ellen Hulda Johnson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94183bf07-6dce-4777-903c-a590c03214ce

EDAN-URL:

ead_collection:sova-aaa-johnelle

Creator:

Holly Solomon Gallery  Search this

Subject:

Anderson, Laurie  Search this

MacConnel, Kim  Search this

Paik, Nam June  Search this

Patkin, Izhar  Search this

Solomon, Holly  Search this

Wegman, William  Search this

Zucker, Joe  Search this

98 Green St. Loft  Search this

Type:

Diaries

Interviews

Video recordings

Sound recordings

Daybooks

Citation:

Holly Solomon Gallery records, circa 1948-2003. Archives of American Art, Smithsonian Institution.

Topic:

Visitors' books  Search this

Photographs  Search this

Notebooks  Search this

Motion pictures (visual works)  Search this

Video art  Search this

Performance art  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)15859

(DSI-AAA_SIRISBib)293606

AAA_collcode_hollsolg

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_293606

Interviewee:

Klement, Vera, 1929-  Search this

Interviewer:

Silverman, Lanny  Search this

Names:

Artemisia Gallery  Search this

Chicago Art and Artists: Oral History Project  Search this

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

University of Chicago -- Faculty  Search this

Adrian, Dennis, 1937-  Search this

Ashton, Dore  Search this

Deson, Marianne  Search this

Ippolito, Angelo  Search this

Ito, Miyoko, 1918-1983  Search this

Kind, Phyllis, 1933-2018  Search this

Rosenberg, Harold, 1906-1978  Search this

Shapey, Ralph, 1921-2002  Search this

Stamos, Theodoros, 1922-1997  Search this

Extent:

3 Items (Sound recording: 3 sound files (3 hr., 24 min.), digital, wav)

140 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2015 June 12 and 14

Scope and Contents:

An interview with Vera Klement conducted 2015 June 12 and 14, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Klement's home and studio in Chicago, Illinois.

Klement speaks of her early childhood in Danzig (now, Gdansk, Poland) on the eve of World War II; her family's immigration to New York; her early experiences with music and art; her decision to become a painter; her interactions within New York's art community of the 1950s; the change in New York's art scene after the emergence of Pop art; her move to Chicago and subsequent difficulties in showing her work; her involvement within the Chicago art community; the founding of the women's artist cooperative, Artemisia; her involvement with the women's movement in the 1970s; teaching at the University of Chicago; her conception of her artwork as representational and apolitical; her literary influences; and her distaste for the contemporary art world. Klement also recalls Dennis Adrian, Dore Ashton, Marianne Deson, Angelo Ippolito, Miyoko Ito, Phyllis Kind, Harold Rosenberg, Ralph Shapey, Theodoros Stamos, and others.

Biographical / Historical:

Vera Klement (1929-2023) was an Expressionist painter in Chicago, Illinois.

Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.

General:

Originally recorded as 3 sound files. Duration is 3 hr., 24 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.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Painters -- Illinois -- Chicago  Search this

Topic:

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

Art, American -- Illinois -- Chicago  Search this

Women artists  Search this

Women's rights  Search this

Women painters  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

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

Identifier:

AAA.klemen15

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92ebbec79-bfdc-4b94-8f4c-e6782bd05599

EDAN-URL:

ead_collection:sova-aaa-klemen15

Interviewee:

Klement, Vera, 1929-2023  Search this

Interviewer:

Silverman, Lanny  Search this

Subject:

Adrian, Dennis  Search this

Ashton, Dore  Search this

Deson, Marianne  Search this

Ippolito, Angelo  Search this

Ito, Miyoko  Search this

Kind, Phyllis  Search this

Rosenberg, Harold  Search this

Shapey, Ralph  Search this

Stamos, Theodoros  Search this

Artemisia Gallery  Search this

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

Chicago Art and Artists: Oral History Project  Search this

University of Chicago  Search this

Type:

Interviews

Sound recordings

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Vera Klement, 2015 June 12 and 14. Archives of American Art, Smithsonian Institution.

Topic:

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

Art, American -- Illinois -- Chicago  Search this

Women artists  Search this

Women's rights  Search this

Women painters  Search this

Theme:

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

Record number:

(DSI-AAA_CollID)16266

(DSI-AAA_SIRISBib)371137

AAA_collcode_klemen15

Theme:

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

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_371137

Creator:

Kootz Gallery  Search this

Names:

Baziotes, William, 1912-1963 -- Photographs  Search this

Braque, Georges, 1882-1963  Search this

Hare, David, 1917-1992  Search this

Hofmann, Hans, 1880-1966 -- Photographs  Search this

Kootz, Samuel M., 1898-1982  Search this

Marca-Relli, Conrad, 1913-2000 -- Photographs  Search this

Mathieu, Georges, 1921- -- Photographs  Search this

Picasso, Pablo, 1881-1973 -- Photographs  Search this

Pierre Soulages, 1919- -- Photographs  Search this

Ronald, William, 1926- -- Photographs  Search this

Sugai, Kumi, 1919 -- Photographs  Search this

Extent:

7.1 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Signatures (names)

Notes

Date:

1923-1966

Summary:

The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks; photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.

Scope and Contents note:

The records of modernist New York City Kootz Gallery measure 7.1 linear feet and date from 1923-1966. They consist of scattered correspondence and exhibition files; photograph files of artists, including ones for Picasso, William Baziotes, and Hans Hofmann, among many others; 23 scrapbooks, photographs and slides of the gallery and exhibitions; and scattered personal papers of Samuel M. Kootz.

There are two folders of scattered routine incoming letters. Three folders of exhibition files contain limited documentation of the 1952 Kootz Gallery exhibition "To South America," and printed material related to the 1951 exhibition "Art for a Synagogue" held at the Synagogue of Congregation B'nai Israel in Millburn, New Jersey.

Artists' Photograph Files contain mostly photographs of 52 artists, their artwork, and their exhibitions. In addition to photographs, there is one folder of artists' autographs. Pablo Picasso and Hans Hofmann's close friendship with Kootz is reflected in this series, as numerous informal personal photos are found in their respective files. A few folders also contain documents, such as transcript notes for a lecture and other writings by Hans Hofmann and a brief review of the work of Georges Braque and David Hare.

Printed Material consists of exhibition announcements and catalogs, advertisements, and newspaper and magazine clippings on the gallery and artists associated with the gallery. There are catalogs for Kootz Gallery exhibitions, including "The Intrasubjectives" show of 1949.

Twenty-three scrapbooks date from 1931 through 1966 and include exhibition announcements, catalogs, photographs, clippings, and miscellaneous printed material. Scrapbook 1, 1947-1948, focuses on Pablo Picasso. Scrapbooks 2-21 document approximately one year of Kootz Gallery events and press coverage from 1945 to 1966, and Scrapbooks 22-23, 1950-1958, focus on architectural models and exhibitions.

Photographic material includes photographs, transparencies, and slides of Kootz Gallery New York and Kootz Gallery Provincetown; interior design photographs showcasing Kootz Gallery artwork hanging in office and residential spaces; group and unidentified exhibitions; group and unidentified artists/artwork; and informal photographs of Samuel Kootz and of his wife, Jane.

Samuel Kootz Personal Papers consist of a cocktail party invitation and a copy of the 1923 Phi Epsilon Pi Quarterly, Vol. 6, No. 1.

Arrangement note:

The collection is arranged as 7 series:

Missing Title

Series 1: Correspondence, 1950-1962 (Box 1; 2 folders)

Series 2: Exhibition Files, circa 1944-1966 (Box 1; 3 folders)

Series 3: Artists Photographs Files, 1936-1966 (Boxes 1-2, 5; 1.5 linear feet)

Series 4: Printed Material, circa 1944-1966 (Boxes 2, 5; 0.5 linear feet)

Series 5: Scrapbooks, 1931-1966 (Box 3, BV 6-23; 4 linear feet)

Series 6: Photographic Material, circa 1944-1966 (Boxes 4-5; 11 folders)

Series 7: Samuel Kootz Personal Papers, circa 1923-1957 (Box 4; 2 folders)

Biographical/Historical note:

Samuel M. Kootz officially opened the Kootz Gallery in 1945 in New York City. In 1953, he opened a satellite gallery in Provincetown, Massachusetts that closed one year later.

Samuel M. Kootz (1898-1982) received his law degree from the University of Virginia in 1921 and practiced law briefly before moving to New York City to accept a job as an advertising account executive. While still in law school, he began visiting New York art galleries and was particularly drawn to works by modern artists that were showing at the Stieglitz Gallery and the Charles Daniel Gallery. In 1930, he independently published his first book, Modern American Painters and began to regularly contribute articles on painting and photography to various periodicals, including The Times. In 1942, he curated an abstract expressionist showcase for Macy's and published New Frontiers in American Painting one year later. Kootz's second book was one of the first to examine the emerging abstract expressionist movement and marked the beginning of his full transition into the art world.

In 1944, Kootz resigned from his advertising job to represent Robert Motherwell and William Baziotes as a professional art dealer. He officially opened the Kootz Gallery opened in 1945 and showcased the work of both American and European abstract expressionists, including Hans Hofmann and Adolph Gottlieb. In 1946, during the Kootz Gallery's preparation for Pablo Picasso's first one man exhibition in America, Picasso became quite friendly with Kootz and his wife Jane. Upon the artist's suggestion, Kootz agreed to close his gallery and represent Picasso and his other artists as a private dealer. Although this was a successful venture, Kootz missed the structure of an office and decided to reopen his gallery on Madison Avenue in 1949. The gallery's first show at the new location was "The Intrasubjectives," a term Kootz had coined for abstract expressionists. The exhibition included four artists from his stable, William Baziotes, Robert Motherwell, Adolph Gottlieb, and Hans Hofmann, along with Jackson Pollock, Arshile Gorky, Willem de Kooning, Mark Rothko, Ad Reinhardt, Morris Graves, Mark Tobey, and Bradley Walker Tomlin.

In 1953, Kootz opened a satellite gallery in Provincetown, Massachusetts that was managed and operated by gallerist Nathan Halper. In 1954, they mutually agreed to dissolve their partnership and Kootz focused his energies on his New York gallery, which grew to include Herbert Ferber, David Hare, Philippe Hosiasson, Ibram Lassaw, Conrad Marca-Relli, Georges Mathieu, Raymond Parker, William Ronald, Gerard Schneider, Emil Schumacher, and Pierre Soulages.

A number of factors, including competition from new galleries, commoditization of art by investment collectors, and the public's interest in emerging pop art, influenced Kootz's decision to close his gallery in 1966.

Related Archival Materials note:

Also found among the holdings of the Archives of American Art are oral history interviews with Samuel M. Kootz by John Morse on March 2, 1960 and by Dorothy Seckler on April 13, 1964. Records of Kootz Gallery are also interspersed among the records of Nathan Halper's galleries.

Separated Materials note:

Records loaned for microfilming in 1965 included eight articles from the publication Modern Artists in America (1951) which were not included in the later donation and are now available on microfilm reel NY65-1.

Provenance:

Samuel M. Kootz donated the gallery records in two increments in 1971. Nearly all of the same records had been loaned in 1965 for microfilming.

Restrictions:

This collection is temporarily closed to researchers due to archival processing and digitization. Contact Reference Services for more information.

Rights:

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

Topic:

Artists -- United States -- Exhibitions  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Photographs

Signatures (names)

Notes

Citation:

Kootz Gallery records, 1923-1966. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.kootgall

See more items in:

Kootz Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91262a00c-472d-46e1-8583-68bf078f849f

EDAN-URL:

ead_collection:sova-aaa-kootgall

Author:

Mallé, Luigi  Search this

Turin (Italy) Galleria civica d'arte moderna  Search this

Physical description:

44 p 83 plates 24 cm

Type:

Exhibitions

Expositions

Catalogue d'exposition

Exhibition catalogs

Place:

New York (State)

New York

New York (État)

New York (Etats-Unis)

Date:

1969

Topic:

Pop art  Search this

Pop'art  Search this

art américain (Etats-Unis)--pop art  Search this

Call number:

N6535.N5 N4X

N6535.N5N4X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_10334

Artist:

Sante Graziani, 11 Mar 1920 - 15 Mar 2005  Search this

Derived from:

Gilbert Stuart, 3 Dec 1755 - 9 Jul 1828  Search this

Sitter:

George Washington, 22 Feb 1732 - 14 Dec 1799  Search this

Medium:

Oil on canvas

Dimensions:

Sight: 111.8 × 111.8 cm (44 × 44")

Stretcher: 112.4 × 111.8 cm (44 1/4 × 44")

Frame: 115.1 × 114.9 × 3.8 cm (45 5/16 × 45 1/4 × 1 1/2")

Object Dimensions: 43 7/8 x 44 x ~7/8

Type:

Painting

Place:

United States\Massachusetts

Date:

1965

Topic:

George Washington: Male  Search this

George Washington: Military and Intelligence\Army\Officer\Revolutionary War  Search this

George Washington: Politics and Government\Statesman\Colonial statesman  Search this

George Washington: Natural Resource Occupations\Agriculturist\Farmer  Search this

George Washington: Military and Intelligence\Army\Officer\General  Search this

George Washington: Politics and Government\President of US  Search this

George Washington: Science and Technology\Surveyor  Search this

George Washington: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift from the Trustees of the Corcoran Gallery of Art (Gift of The Friends of the Corcoran and the artist through a Museum Exchange) The Corcoran Gallery of Art, one of the country’s first private museums, was established in 1869 to promote art and American genius. In 2014 the Works from the Corcoran Collection were distributed to institutions in Washington, D.C.

Object number:

NPG.2019.31

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of Sante Graziani

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm48dca8c71-9bc5-41fa-80c8-5d0ec7e566d6

EDAN-URL:

edanmdm:npg_NPG.2019.31

Collection Creator:

Colpitt, Frances  Search this

Container:

Box 8, Folder 5

Type:

Archival materials

Date:

circa 1990

Collection Restrictions:

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

Collection Rights:

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

Collection Citation:

Frances Colpitt papers, 1932-2022. Archives of American Art, Smithsonian Institution.

See more items in:

Frances Colpitt papers

Frances Colpitt papers / Series 3: Teaching Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98d9ac9ee-b93e-4cdd-b4fc-0bac3cdd4802

EDAN-URL:

ead_component:sova-aaa-colpfran-ref227

Author:

Finch, Christopher  Search this

Physical description:

168 pages illustrations (some color) 19 cm

Type:

Books

Date:

1968

Topic:

Pop art  Search this

Pop'art  Search this

Pop (fine arts styles)  Search this

Pop-Art  Search this

Pop-art  Search this

Call number:

N6494.P6 F49

N6494.P6F49

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_9051

Artist:

Arshile Gorky, American, b. Dilkaya, Turkey, 1904–1948  Search this

Medium:

Oil, india ink, and conte crayon on canvas

Dimensions:

38 1/8 × 50 1/8 in. (96.7 × 127.1 cm)

Type:

Painting

Date:

1947

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number:

86.2341

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Abstract Expressionism (First Generation)

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2e67e573a-a7b1-4148-bd34-9af9c90063d3

EDAN-URL:

edanmdm:hmsg_86.2341

Maker:

Moké (Monsenguro Kejwamfi), 1950 - 2001, Democratic Republic of the Congo  Search this

Medium:

Paint on canvas

Dimensions:

Image inside frame: 82.5 x 65 cm (32 1/2 x 25 9/16 in.)

Framed: 87 x 69.5 x 2.9 cm (34 1/4 x 27 3/8 x 1 1/8 in.)

Type:

Painting

Geography:

Democratic Republic of the Congo

Date:

1982

Topic:

couple  Search this

Credit Line:

Gift of Ruth and Derek Singer

Object number:

2010-4-2

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys70ea5a7b5-7ac4-4c94-b7bb-5635cf9b27de

EDAN-URL:

edanmdm:nmafa_2010-4-2

Collection Creator:

Fendrick Gallery  Search this

Container:

Box 86, Folder 11

Type:

Archival materials

Date:

1961-1974, undated

Collection Restrictions:

The collection is open for research. Use of unmicrofilmed material requires an appointment.

Collection Rights:

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

Collection Citation:

Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.

See more items in:

Fendrick Gallery records

Fendrick Gallery records / Series 6: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw960568125-4798-4d75-930f-2a4a177be253

EDAN-URL:

ead_component:sova-aaa-fendgall-ref1215

Artist:

Gaspar Enríquez, born 1942  Search this

Sitter:

Luis Jiménez, 30 Jul 1940 - 13 Jun 2006  Search this

Medium:

Airbrushed acrylic paint on paper

Dimensions:

Image: 104.5 × 74 cm (41 1/8 × 29 1/8")

Frame: 122.2 × 91.4 × 7 cm (48 1/8 × 36 × 2 3/4")

Object Dimensions: 41.5 x 29.25

Type:

Painting

Place:

United States\Texas\El Paso\San Elizario

Date:

2003

Topic:

Costume\Headgear\Hat  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Luis Jiménez: Male  Search this

Luis Jiménez: Visual Arts\Artist\Sculptor  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; donated from the collection of Jerry and Michelle Wright (El Paso, Texas) December 1st, 2016

Object number:

NPG.2016.144.1

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2003 Gaspar Enriquez

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4a1941524-823e-4402-92ce-5bb01e3c1c24

EDAN-URL:

edanmdm:npg_NPG.2016.144.1

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2013-11-21T08:33:53.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_zSQADaa3sqY

Collection Creator:

Parsons, Betty  Search this

Container:

Box 58, Folder 6

Type:

Archival materials

Date:

1937-1980

Scope and Contents:

Includes: Mansaram, P; Marisol; Matter, Mercedes; McCarter, Renate Bohne; McPeck, Eleanor; Mebane, Daniel

Series Restrictions:

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

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

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.3: Correspondence / 7.3.1: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b4831e2-abac-4f03-b6ec-fef6534c69b9

EDAN-URL:

ead_component:sova-aaa-parsbett-ref3214

Collection Creator:

Parsons, Betty  Search this

Container:

Box 2, Folder 35

Type:

Archival materials

Date:

1966-1973

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

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

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 1: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95ebdf383-d193-4428-a942-71a775c20cad

EDAN-URL:

ead_component:sova-aaa-parsbett-ref74

Creator:

Bearden, Romare, 1911-1988  Search this

Fortess, Karl E. (Karl Eugene), 1907-1993  Search this

Type:

Sound Recording

Date:

1970 June 28

Citation:

Romare Bearden and Karl E. (Karl Eugene) Fortess. Interview with Romare Bearden, 1970 June 28. Karl E. Fortess interviews with artists, circa 1963-1985. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)13644

See more items in:

Karl E. Fortess interviews with artists, circa 1963-1985

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_13644