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Reuben Kadish papers

Creator:
Kadish, Reuben, 1913-1992  Search this
Names:
Ashton, Dore  Search this
Cherry, Herman  Search this
Conant, Howard  Search this
De Kooning, Willem, 1904-1997  Search this
Guston, Philip, 1913-1980  Search this
Hiler, Hilaire, 1898-1966  Search this
Langsner, Jules, 1911-1967  Search this
Neininger, Urban  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956  Search this
Siqueiros, David Alfaro  Search this
Tully, Judd  Search this
Extent:
7.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Date:
1851-1995
bulk 1913-1995
Summary:
This collection, which measures 7.9 linear feet and dates from 1851 to 1995 (bulk 1913-1995), documents the life and career of muralist, sculptor, and educator Reuben Kadish. The papers contain biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.
Scope and Content Note:
The Reuben Kadish papers measure 7.9 linear feet and date from 1851 to 1995 with the bulk of the material dating from 1913 to 1995. The collection documents the life and career of muralist, sculptor, and educator Reuben Kadish and contains biographical material, letters, personal business records, an exhibition file, notes, writings, artwork, printed material, photographs, and artifacts.

Biographical material, 1938-1992, includes résumés and personal identification items. Letters are from friends and colleagues including Herman Cherry, Philip Guston, Hilaire Hiler, Jules Langsner, Urban Neininger, Charles Pollock, and Jackson Pollock. One letter from the Leonard Stark family contains a small photograph of Georgia O'Keeffe.

Personal business records, 1952-1995, consist of legal documents, including estate papers for Ida and Reuben Kadish, and financial records. The only specific exhibition file documents the 1990 exhibition Reuben Kadish: Works from 1930 to the Present at the New Jersey State Museum in 1990.

Notes include unbound notes on mural painting, printmaking, sculpture, and other art-related topics, and handwritten translations by William H. Thomson of thirty classic texts by Homer, Horace, and Demosthenes. Writings, 1975-1992, consist of an autobiographical manuscript by Kadish, and typescripts concerning Kadish and other art-related topics by other authors including Dore Ashton, Herman Cherry, Howard Conant, and Judd Tully.

Artwork, undated and 1981-1992, includes a hundred sketches and seventeen watercolors by Kadish, and a drawing for DIG (Archeology) by Barbara Kadish. Printed material relates primarily to exhibitions for Kadish and others but also includes a baseball program autographed by Darryl Strawberry. Photographs include prints of Kadish and other artists working on murals, and photographs picturing family and friends.
Arrangement:
The collection is arranged into ten series, based on type of material. Although acquired as a gift before the rest of the collection was loaned to the Archives of American Art in 1998, eight photographs are described in Series 9: Photographs, with those included in the 1998 loan.

Each series is arranged chronologically, except Series 2: Letters and Series 6: Writings, which are arranged alphabetically according to the surname of the writer.

Missing Title

Series 1: Biographical Material, 1938-1992 (box 1, 3 folders)

Series 2: Letters, 1934-1995, undated (boxes 1-3, 2.5 linear ft.)

Series 3: Personal Business Records, 1952-1995 (boxes 3-4, 37 folders)

Series 4: Exhibition File, 1989-1991 (box 4, 1 folder)

Series 5: Notes, 1851-1853, 1937-1992, undated (boxes 4-5, 35 folders)

Series 6: Writings, 1963-1992, undated (box 5, 14 folders)

Series 7: Artwork, 1981-1992, undated (boxes 5, 10, 8 folders)

Series 8: Printed Material, 1934-1993, undated (boxes 5-7, 76 folders)

Series 9: Photographs, 1913-1992, undated (boxes 7-9, sol 10, 2.0 linear ft.)

Series 10: Artifacts, undated (box 9, 1 folder)
Biographical Note:
Reuben Kadish was born in Chicago on January 29, 1913. His father and mother were from Latvia and the Ukraine respectively.

In 1921, the family moved to East Los Angeles, California, where Kadish studied painting under Lorser Feitelson. During this time, he befriended Jackson Pollock and Philip Guston, who attended the Manual Arts High School.

During a trip to New York City in 1930, Kadish was impressed with the modern art, especially the work of the Surrealists, which he saw there. Upon his return to Los Angeles the following year, Kadish attended the Otis Art School, the Stickney School of Art in Pasadena, and Los Angeles City College. He also shared a studio with Philip Guston.

In 1933, Kadish, Guston and Jules Langsner were apprenticed to Mexican muralist, David Alfaro Siqueiros. Their most notable work being the mural "Triumph of Good Over Evil", at the University of Morelia in Mexico. During the next three years, the three young artists collaborated on painting murals in California and Mexico. After another visit to New York, Kadish was invited to San Francisco by Bill Gaskin to head the art division of the WPA project there, a position he occupied until 1940.

From 1940, Kadish worked as a coppersmith and welder at the Bethlehem Steel Works in San Francisco until 1942, when he joined the Army as a member of the War Artist Unit, serving in India and Southeast Asia during World War II. In 1944, he rejoined his wife Barbara in the Bay Area, but they soon returned to New York City, where Kadish worked for Stanley William Hayter at Atelier 17. In the summer of 1945, the Kadish painted with Jackson Pollock and Lee Krasner in a shared Long Island house on Slow's Point in Amagansett.

In 1946, the Kadishes moved to a dairy farm in Vernon, New Jersey, where they supported themselves by farming until 1957. A catastrophic fire in the studio destroyed most of Kadish's paintings in 1947, causing him to turn his interest to creating sculpture.

After teaching art and design at the Newark School of Fine and Industrial Art in 1957, Kadish taught sculpture at the Brooklyn Museum Art School from 1958-1959. In 1960, he began his thirty-year teaching career at Cooper Union, which ended only a few months before his death on September 20, 1992 in Manhattan.
Related Material:
Other resources relating to Reuben Kadish in the Archives of American Art include an oral history interview with Kadish, April 15, 1992.
Provenance:
The eight photographs on Reel 5660 were donated to the Archives of American Art in 1984 by Reuben Kadish. The other material on Reels 5655-5660 was lent for filming in 1998 by Morris and Ruth Kadish, brother and sister-in-law of Reuben Kadish, and executors of his estate, and subsequently donated to the Archives of American Art in 2002.
Restrictions:
The collection is open for research. Use requires an appointment. Microfilmed portion must be consulted on microfilm.
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:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Muralists -- California  Search this
Sculptors -- California  Search this
Genre/Form:
Drawings
Photographs
Citation:
Reuben Kadish papers, 1851-1995, bulk 1913-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kadireub
See more items in:
Reuben Kadish papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974482335-aae0-4e72-8e41-8c2fb3fe28f8
EDAN-URL:
ead_collection:sova-aaa-kadireub
Online Media:

Oral history interview with Albert Christ-Janer

Interviewee:
Christ-Janer, Albert, 1910-1973  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Cranbrook Academy of Art  Search this
Benton, Thomas Hart, 1889-1975  Search this
Curry, John Steuart, 1897-1946  Search this
Pollock, Jackson, 1912-1956  Search this
Wood, Grant, 1891-1942  Search this
Extent:
7 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 March 21
Scope and Contents:
An interview of Albert Christ-Janer conducted by Dorothy Seckler 1964 March 21 for the Archives of American Art.
Christ-Janer speaks of the regionalist movement in painting in the 1930s, of Thomas Hart Benton, John Steuart Curry and Grant Wood; teaching at the Cranbrook Academy of Design; and he recalls Jackson Pollock.
Biographical / Historical:
Albert Christ-Janer (1910-1973) was a painter, printmaker, museum director, educator, and writer in Athens, Georgia.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 21 min.
Provenance:
These interviews are 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 others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Painters -- Georgia -- Athens -- Interviews  Search this
Topic:
Art, American  Search this
Authors -- Georgia -- Athens -- Interviews  Search this
Educators -- Georgia -- Athens -- Interviews  Search this
Museum directors -- Georgia -- Athens -- Interviews  Search this
Printmakers -- Georgia -- Athens -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.christ64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bcd0dda1-a041-4251-af50-4f568dc72dcf
EDAN-URL:
ead_collection:sova-aaa-christ64
Online Media:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990

Creator:
Lisle, Laurie  Search this
Subject:
O'Keeffe, Georgia  Search this
Nevelson, Louise  Search this
Type:
Sound recordings
Interviews
Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Topic:
Women art historians  Search this
Women authors  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)10762
(DSI-AAA_SIRISBib)214373
AAA_collcode_lisllaur
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214373

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Creator:
Lisle, Laurie  Search this
Names:
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1902-1990
Summary:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).
Scope and Contents:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The O'Keeffe portion of the collection consists of biographical papers, recordings, correspondence, and printed material. Biographical material includes academic records, maps and ephemera regarding O'Keeffe's various residences, and legal records concerning law suits and her will. The correspondents in this series include artists, gallery representatives and collectors, and exhibition organizers. Printed material consists of newspaper clippings, magazines, and exhibition announcements for both her and her husband, Alfred Stieglitz. Also included in the printed material is a file pertaining to Laurie Lisle's book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980).

The research material on Louise Nevelson consists of 97 audiocassettes featuring interviews with Louise Nevelson, some members of the Nevelson family, artists, dealers, and peers. The recordings were gathered in preparation for Lisles biography on Nevelson, Louise Nevelson: A Passionate Life (1990).
Arrangement:
Collection is arranged as two series.

Series 1: Research Files on Georgia O'Keeffe, 1902-1990 (1 linear foot; box 1)

Series 2: Interviews of and Related to Louise Nevelson, 1975-1988 (2.4 Linear feet; shoeboxes 2-7)
Biographical / Historical:
Laurie Lisle is an art historian and author in Sharon, Connecticut. Lisle is originally from Providence, Rhode Island and attended college at Ohio Wesleyan University. After college she held positions at The Providence Journal and Newsweek magazine. She has published five books covering the topics of art history, education, sociology, and her own life. Lisle is married to painter and printmaker Robert Kipniss.

Georgia O'Keeffe (1887-1986) was born in Sun Prairie, Wisconson in 1887. She was an artist who is mostly known for painting flowers, New York Skyscrapers, and New Mexico landscapes. O'Keeffe began high school at Sacred Heart Academy in Madison, Wisconsin, but ultimately graduated from Chatham Episcopal Institute in Virginia after her family moved to Williamsburg, Virginia in 1902. O'Keeffe went on to study at the School of Art Institute of Chicago, Art Students League, Teachers College of Columbia University, and taught art at high schools in Texas and at Chatham Episcopal Insitute, Columbia College, and became the chair of the art department at West Texas State Normal College. O'Keeffe's art was ultimately promoted by Alfred Stieglitz who, although eventually marrying O'Keeffe in 1924, first exhibited her artwork at his esteemed 291 gallery in New York City. O'Keeffe's fame as an artist took off from there. O'Keeffe was a member of the American Academy of Arts and Letters; she received the Presidential Medal of Freedom in 1977 and the National Medal of Arts in 1985; and in 1993 was inducted into the National Women's Hall of Fame.

Louise Nevelson (1899-1988) was born in Kiev, Russia in 1899. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985.
Related Materials:
The Archives of American Art also houses the Louise Nevelson papers, circa 1903-1979.
Provenance:
This collection was donated by Laurie Lisle in two separate installments. The material on Georgia O'Keeffe was donated in 1991, and the material on Louise Nevelson was donated in 2004.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Connecticut  Search this
Authors -- Connnecticut  Search this
Topic:
Women art historians  Search this
Women authors  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lisllaur
See more items in:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e8f2773f-cdd3-4d29-9ecb-ab2f66faef8f
EDAN-URL:
ead_collection:sova-aaa-lisllaur
Online Media:

Will You Forget Me?

Artist:
Emma Amos, 156 Mar 1937 - 20 May 2020  Search this
Sitter:
Emma Amos, 156 Mar 1937 - 20 May 2020  Search this
Medium:
Acrylic on canvas with fabric collage and African fabric borders
Dimensions:
Stretcher: 165.1 × 114.3 cm (65 × 45")
Type:
Painting
Place:
United States\New York\Kings\New York
Date:
1991
Topic:
Nature & Environment\Clouds  Search this
Exterior\Sky  Search this
Artwork\Photograph  Search this
Imaginary  Search this
Self-portrait  Search this
Emma Amos: Visual Arts\Artist  Search this
Emma Amos: Female  Search this
Emma Amos: Society and Social Change\Reformer\Activist  Search this
Emma Amos: Visual Arts\Artist\Abstract Expressionist  Search this
Emma Amos: Crafts and Trades\Textile worker  Search this
Portrait  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture and National Portrait Gallery, Museum Purchase through the American Women’s History Initiative Acquisitions Pool administered by the Smithsonian American Women’s History Initiative and generously supported by American Express
Object number:
NPG.2022.97
Restrictions & Rights:
Usage conditions apply
Copyright:
© 1991 Emma Amos and courtesy of Ryan Lee Gallery, New York
See more items in:
National Portrait Gallery Collection
Exhibition:
20th Century Americans: 2000 to Present
On View:
NPG, South Gallery 341
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm49e138143-b498-4e82-be7b-695a0123a243
EDAN-URL:
edanmdm:npg_NPG.2022.97

Carl Zigrosser papers

Topic:
Modern school magazine
Creator:
Zigrosser, Carl, 1891-  Search this
Names:
American Artists Group  Search this
Armory Show (1913: New York, N.Y.)  Search this
Art Institute of Chicago  Search this
Art in America  Search this
Independent Citizens Committee for the Arts, Sciences, and Professions  Search this
John Simon Guggenheim Memorial Foundation  Search this
Philadelphia Museum of Art  Search this
Print Club (Philadelphia, Pa.)  Search this
Print Council of America  Search this
Solomon R. Guggenheim Museum  Search this
Tamarind Lithography Workshop  Search this
Weyhe Gallery  Search this
Whitney Museum of American Art  Search this
Arms, John Taylor, 1887-1953  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Boyd, E. (Elizabeth), 1903-1974  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Calder, Alexander, 1898-1976  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Castellón, Federico, 1914-1971  Search this
Colker, Ed, 1927-  Search this
Cook, Howard Norton, 1901-1980  Search this
Dehn, Adolf, 1895-1968  Search this
Durieux, Caroline, 1896-1989  Search this
Dwight, Mabel, 1876-1955  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Girard, André  Search this
Hayter, Stanley William, 1901-1988  Search this
Hopper, Edward, 1882-1967  Search this
Huntley, Victoria Hutson, 1900-1971  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Kent, Rockwell, 1882-1971  Search this
Keppel, Frederick, 1845-1912  Search this
Kimball, Fiske, 1888-1955  Search this
Kohn, Misch, 1916-  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lankes, Julius J., 1884-1960  Search this
Lasansky, Mauricio, 1914-  Search this
Mauzey, Merritt, 1898-  Search this
McNulty, Kneeland  Search this
Michener, James A. (James Albert), 1907-  Search this
Mitchell, Marian  Search this
Nalbandian, Karnig  Search this
Norman, Dorothy, 1905-1997  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pach, Walter, 1883-1958  Search this
Rivera, Diego, 1886-1957  Search this
Ronnebeck, Arnold, 1885-1947  Search this
Rose, Ruth Starr, 1887-1965  Search this
Rosenwald, Lessing J. (Lessing Julius), 1891-1979  Search this
Ruellan, Andrée, 1905-2006  Search this
Schniewind, Carl Oscar, 1900-1957  Search this
Seidenberg, Roderick, 1889-1973  Search this
Spratling, William, 1900-1967  Search this
Spruance, Benton, 1904-1967  Search this
Sternberg, Harry, 1904-2001  Search this
Stieglitz, Alfred, 1864-1946  Search this
Teng, Kuei  Search this
Valentin, Curt, 1902-1954  Search this
Warneke, Heinz (Heinrich), 1895-1983  Search this
Weston, Edward, 1886-1958  Search this
Wickey, Harry  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
30 Linear feet ((on 63 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1891-1971
Scope and Contents:
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- United States  Search this
Printmakers -- United States  Search this
Museum curators -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, American  Search this
Prints -- societies, etc  Search this
Prints -- Collectors and collecting  Search this
Prints, American  Search this
Prints, European  Search this
Identifier:
AAA.zigrcarl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c88ba1db-1061-48d2-bae9-77dd7e7f65c5
EDAN-URL:
ead_collection:sova-aaa-zigrcarl

Jake Jacobson "Heart & Hands" Color Iris Photoprints

Creator:
Northlight of Colorado, Inc.  Search this
Jacobson, Jake  Search this
Extent:
8 Prints (framed)
3.42 Cubic feet (2 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Prints
Photographs
Sound recordings
Inkjet prints
Iris prints
Ink jet printing
Compact discs
Digital images
Cd-roms
Color prints (photographs)
Date:
1996-2000
Summary:
Collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004.
Scope and Contents:
The collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004. The materials are arranged into two series.

Series 1: Iris (Inkjet) Digital Photoprints, dates, consists of eighty six color Iris (inkjet) items. The subjects are primarily individual musicians and craftsmen, although several instrument companies are included, notably the venerable Selmer Company of Elkhart, Indiana, which has manufactured band instruments for many decades. These digital prints were made from Jacobson's 35mm color transparencies (although print number one is monochrome, rather than full color). The prints are from a limited edition of 350, and are signed by the photographer in the lower right beneath the image, and numbered on the lower left. Some prints bears Northlight Atelier blind stamp in the margin and an identifying label with the print number and subject's name is affixed to each print on the verso at the bottom. Most of the prints have an image size of 20" in the long dimension and from approximately 13-1/4" to 14-1/4" on the short side; on heavy, textured archival paper, ranging in size from about 16"x 23" to 19"x 24". Eight larger prints, with image sizes of approximately 21-22" x 31-32" in size, were received matted and in 28" x 40" frames. Some representative image and print sizes are included. Most prints are in one large flat box; prints in the "folder" are stored separately because the paper is slightly too large for the box. The large framed prints are necessarily stored separately and are less accessible.

Series 2: Other Materials, dates, includes a loose-leaf notebook containing inventory of the Smithsonian Institution Traveling Exhibition Services (SITES) exhibit prints with titles and thumbnail images for identification (except item 55, which is omitted), plus a CD-ROM containing the images in pocket. Note that the images for numbers 81 and 85 in the notebook are reversed. There is also a compact disk in plastic jewel case of the same name ("Heart & Hands: Musical Instrument Makers of America"), which contains sixty tracks of instrument makers playing their instruments and interviews with some of them. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks.
Arrangement:
The collection is divided into two series.

Series 1, Iris (Inkjet) Digital Photoprints

Series 2, Other Materials
Biographical / Historical:
"Heart & Hands: Musical Instrument Makers of America" was an exhibition of photographs by Jake Jacobson, circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004 to at least fourteen venues. The first site was April 8, 2000, at the Georgia Mountains History Museum, and the last venue for the show was the Elkhart County Historical Museum, Bristol, Indiana, ending April 6, 2004. Selections from the exhibition were on view from June 4 to 8, 2001, in the Rotunda of the Russell Senate Office Building, and it was shown in the Smithsonian's Arts and Industries building, March 2-April 28, 2002.

The field work for the project was begun in 1996, culminating in 1998. "Traveling coast to coast, in an extensive two-year journey across the United States, Jake Jacobson and research collaborator Trisja Malisoff recorded the images, words, and music of over 300 contemporary musical instrument makers. Documenting the diversity of American music, Jacobson's photographs reveal a complex, living tradition-a heritage that draws upon Latin, Native American, European, African and Asian music influences."

Following this project, Jacobson engaged in a related photographic documentation, "Heart & Hands: Musical Instrument Makers of China." He has established a "Heart & Hands Foundation." Music has been an important part of Jacobson's life throughout his career as a photographer, printmaker, and jazz musician. During the mid-1960s he operated a backyard print shop, producing rock concert posters. As an advertising and editorial photographer, he pioneered new techniques for special effects and printmaking. His continuing passion for photographing musical artists is evident in the portraits in the "Heart & Hands" project.

A graduate of Brooks Institute of Photography, Jacobson has taught photography at UCLA and Cypress College in Orange County. A longtime practitioner and teacher of Yoga, he is the owner of the Center for Yoga in Los Angeles. He operated a "state-of-the-art" photography, printmaking, and video production studio, Northlight of Colorado, in the mountains near Telluride, Colorado, before relocating the Northlight Atelier to Santa Barbara, California, in 2003.

Another project of Jacobson's is entitled, "Oh, Baby--Celebrating Birth Rites around the World."
Provenance:
Collection donated by Mr. Jacobson.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.

Technical Access: Do not use original
Rights:
Jake Jocobson retains copyright. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Musical instruments -- 20th century  Search this
Musical instrument makers  Search this
Genre/Form:
Photographs -- Inkjet prints -- 1990-2000
Sound recordings -- Compact disks
Inkjet prints
Photographs -- Digital prints -- 20th century
Iris prints
Ink jet printing
Compact discs
Digital images
CD-ROMs
Color prints (photographs)
Citation:
Jake Jacobson "Heart & Hands" Color Iris Photoprints, Archives Center, National Museum of American History,
Identifier:
NMAH.AC.0866
See more items in:
Jake Jacobson "Heart & Hands" Color Iris Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8e49666db-ef2c-40a1-ad9a-ee43e0d5f3e7
EDAN-URL:
ead_collection:sova-nmah-ac-0866
Online Media:

Carl Zigrosser papers, 1891-1971

Creator:
Zigrosser, Carl, 1891-1975  Search this
Subject:
Arms, John Taylor  Search this
Barr, Alfred H., Jr.  Search this
Boyd, E. (Elizabeth)  Search this
Burchfield, Charles Ephraim  Search this
Calder, Alexander  Search this
Carrington, Fitz Roy  Search this
Castellón, Federico  Search this
Colker, Ed  Search this
Cook, Howard Norton  Search this
Dehn, Adolf  Search this
Durieux, Caroline  Search this
Dwight, Mabel  Search this
Flannagan, John Bernard  Search this
Girard, André  Search this
Hayter, Stanley William  Search this
Hopper, Edward  Search this
Huntley, Victoria Hutson  Search this
Ingersoll, R. Sturgis (Robert Sturgis)  Search this
Kent, Rockwell  Search this
Keppel, Frederick  Search this
Kimball, Fiske  Search this
Kohn, Misch  Search this
Kuniyoshi, Yasuo  Search this
Lankes, Julius J.  Search this
Lasansky, Mauricio  Search this
Mauzey, Merritt  Search this
McNulty, Kneeland  Search this
Michener, James A. (James Albert)  Search this
Mitchell, Marian  Search this
Nalbandian, Karnig  Search this
Norman, Dorothy  Search this
O'Keeffe, Georgia  Search this
Pach, Walter  Search this
Rivera, Diego  Search this
Ronnebeck, Arnold  Search this
Rose, Ruth Starr  Search this
Rosenwald, Lessing J. (Lessing Julius)  Search this
Ruellan, Andrée  Search this
Schniewind, Carl Oscar  Search this
Seidenberg, Roderick  Search this
Spratling, William  Search this
Spruance, Benton  Search this
Sternberg, Harry  Search this
Stieglitz, Alfred  Search this
Teng, Kuei  Search this
Valentin, Curt  Search this
Warneke, Heinz (Heinrich)  Search this
Weston, Edward  Search this
Wickey, Harry  Search this
Wright, Frank Lloyd  Search this
Yunkers, Adja  Search this
Art in America  Search this
American Artists Group  Search this
Art Institute of Chicago  Search this
Independent Citizens Committee for the Arts, Sciences, and Professions  Search this
John Simon Guggenheim Memorial Foundation  Search this
Philadelphia Museum of Art  Search this
Print Club (Philadelphia, Pa.)  Search this
Print Council of America  Search this
Solomon R. Guggenheim Museum  Search this
Tamarind Lithography Workshop  Search this
Weyhe Gallery  Search this
Whitney Museum of American Art  Search this
Armory Show (1913: New York, N.Y.)  Search this
Citation:
Carl Zigrosser papers, 1891-1971. Archives of American Art, Smithsonian Institution.
Topic:
Modern school magazine  Search this
Art, American  Search this
Prints -- Societies, etc  Search this
Prints -- Collectors and collecting  Search this
Prints, American  Search this
Prints, European  Search this
Theme:
Diaries  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)10859
(DSI-AAA_SIRISBib)214612
AAA_collcode_zigrcarl
Theme:
Diaries
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214612

Emma Amos papers

Creator:
Amos, Emma, 1937-2020  Search this
Names:
Antioch College  Search this
Mason Gross School of the Arts (Rutgers University)  Search this
Spiral (Group of artists)  Search this
Browne, Vivian E., 1929-1993  Search this
Roth, Moira  Search this
hooks, bell, 1952-2021  Search this
Extent:
37.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1900-2019
Summary:
The papers of African American painter and printmaker Emma Amos measure 37.1 linear feet and date from circa 1900 to 2019. The collection documents Amos's family history, her professional life, and the intersection of her heritage and artwork. Found in the collection are biographical materials, family and inherited papers, correspondence, writings, project and exhibition files, teaching files, other professional records, personal business records, printed and photographic materials, and artwork.
Scope and Contents:
The papers of African American painter and printmaker Emma Amos measure 37.1 linear feet and date from circa 1900 to 2019. The collection documents Amos's family history, her professional life, and the intersection of her heritage and artwork. Found in the collection are biographical materials, family and inherited papers, correspondence, writings, project and exhibition files, teaching files, other professional records, personal business records, printed and photographic materials, and artwork.

Biographical materials include Amos's student records from Antioch and New York Universities, her personal Bible, resumes, and video recordings of interviews with bell hooks and Moira Roth. The Amos family and inherited papers of close family friends contain photographs, scrapbooks, correspondence, and memorabilia from Fisk University.

Correspondence is with colleagues at galleries, museums, and arts organizations regarding exhibitions, the Spiral artist group, and Amos's other professional activities, as well as her personal letters with friends and family.

Also found in the collection are writings that include drafts, published copies of essays, autobiographical writings, lecture video recordings, mock-ups of book projects, and a few writings by others. Project and exhibition files are for the television show Show of Hands (1977), The Sky's the Limit installation at IS90, Emma Amos: Paintings and Prints 1982-1992 retrospective exhibition, and the Ralph David Abernathy Memorial Project. Teaching files are from Rutgers University where she served as Chair of Visual Arts at the Mason Gross School of the Arts.

Amos's files for her other professional activities document fellowships and residencies, memberships, presentations at conferences and workshops, travel, and exhibitions she curated such as Progressions: A Cultural Legacy (1986), also co-curated by Julia Hotton and Vivian Browne, and Resisting Categories: Finding Common Ground. Personal business records include gallery files, datebooks, donation and loan records, ledgers and sales books, invoices and receipts, and studio supply records.

Printed materials contain clippings, exhibition announcements and catalogs, magazines and journals, and video recordings of the documentary Emma Amos: Action Lines featuring Amos and her artwork. Photographic materials consist of photographic prints, negatives, transparencies, photographic digital prints, slides, photographs albums, and 1 electronic disc of Amos, family and friends, parties and events, art models, snapshots, and works of art. Artwork contains mainly preparatory and source materials created and collected by Amos for use in her work.
Arrangement:
The collection is arranged as 11 series.

Series 1: Biographical Material, 1937-2012 (1.2 linear feet; Boxes 1-2, 37)

Series 2: Family and Inherited Papers, circa 1900-2017 (3.5 linear feet; Boxes 2-4, 38, OV 43)

Series 3: Correspondence, 1952-2019 (3.2 linear feet; Boxes 4-7)

Series 4: Writings, 1948-2010s (1.5 linear feet; Boxes 7-8, 42)

Series 5: Project and Exhibition Files, 1950s-2019 (8.2 linear feet; Boxes 8-16, 37, OV 45)

Series 6: Teaching Files, 1948-2013 (3.5 linear feet; Boxes 16-20, 37, OV 44)

Series 7: Other Professional Activities, circa 1960s-2018 (4.0 linear feet; Boxes 20-24, 46)

Series 8: Personal Business Records, 1960-2019 (2.0 linear feet; Boxes 24-26, OV 43)

Series 9: Printed Materials, 1908-2019 (4.5linear feet; Boxes 26-30, 39, OV 43, OV 45)

Series 10: Photographic Materials, circa 1900-2010s (3.5 linear feet; Boxes 30-33, 40)

Series 11: Artwork, circa 1940s-2010s (2.0 linear feet; Boxes 33-36, 41)
Biographical / Historical:
Emma Amos (1937-2020) was an African American painter and printmaker in New York, N.Y.

Amos was born in Atlanta, Georgia to a prominent family that had connections to Hale Woodruff, Zora Neale Hurston, and W.E.B. DuBois. Her mother, India DeLaine Amos, received a degree in anthropology from Fisk University in Tennessee and her father, Miles Green Amos, was a pharmacist and graduate of Wilberforce University in Ohio. In 1923, Miles Amos, with his uncle Moses Amos, established the Amos Drug Store which became a social and intellectual center of the neighborhood.

Amos graduated from Booker T. Washington High School at 16. She enrolled at Antioch College where she received a Bachelor of Fine Arts in 1958. During her time at Antioch, Amos would spend part of the year attending classes and the rest of the year working in cities like Washington, D.C., New York, and Chicago where she frequented the local galleries and museums. During her fourth year, she traveled to study at the London Central School of Art with Anthony Harrison. After graduating from Antioch, she returned to London to get a degree in etching in 1960. She later received a Master of Art from New York University in 1966.

At the beginning of Amos's career, she went to New York because of the lack of opportunities in Atlanta. In New York, Amos began teaching art at the Dalton School. She started working with printmakers like Robert Blackburn eventually taking a job with designer Dorothy Liebes in 1961 who she worked for until 1969. Later, Amos taught textile design at Newark School of Art. In 1980, she began teaching at the Mason Gross School of Art at Rutgers University eventually becoming Chair of the Visual Arts department. Amos retired in 2008.

Amos was a member of the influential artist collectives Spiral, Heresies, and Guerilla Girls. She was the creator and host of the WGBH television program about crafts, Show of Hands (1977-1978). She has exhibited her work in numerous exhibitions including Emma Amos, Paintings and Prints, 1982–1992 and Soul of a Nation: Art in the Age of Black Power.

Amos died in Bedford, N.H. in 2020.
Related Materials:
Also in the Archives of American Art are: Oral history interview with Emma Amos, 1968 October 3 and Oral history interview of Emma Amos, 2011 November 19-26.
Provenance:
The collection was donated in 2020 by Emma Amos as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
Material regarding the Guerilla Girls is access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
African American painters  Search this
African American printmakers  Search this
Women painters  Search this
Women printmakers  Search this
African American artists  Search this
Women artists  Search this
Citation:
Emma Amos papers, circa 1900-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.amosemma
See more items in:
Emma Amos papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw961ea519e-31d8-4638-9487-54641641d72a
EDAN-URL:
ead_collection:sova-aaa-amosemma
Online Media:

Albert Christ-Janer papers

Creator:
Christ-Janer, Albert, 1910-1973  Search this
Names:
Michigan State University -- Faculty  Search this
New York University -- Faculty  Search this
Pennsylvania State University -- Faculty  Search this
Pratt Institute -- Faculty  Search this
Stephens College  Search this
University of Chicago -- Faculty  Search this
University of Georgia -- Faculty  Search this
Bingham, George Caleb, 1811-1879  Search this
Christ-Janer, Virginia Morgan Carpenter  Search this
Robinson, Boardman, 1876-1952  Search this
Saarinen, Eliel, 1873-1950  Search this
Zoller, Edwin W., 1900-1967  Search this
Extent:
54.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Christmas cards
Sound recordings
Blueprints
Scrapbooks
Photographs
Prints
Drawings
Sketches
Date:
1915-circa 1993
bulk 1930-1981
Summary:
The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.
Scope and Contents:
The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.

Biographical material includes address books; awards, certificates and diplomas; chronologies, biographies, and resumes; material relating to Albert Christ-Janer's death, including memorial services and a sound tape reel memorial; and information and blueprints for residences, among other materials.

Correspondence includes Christmas cards from other artists and professional correspondence, much of it relating to his work at various institutions, including Michigan State University, New York University, Pennsylvania State University, Pratt Institution, and foundations. Also included is Virginia Christ-Janer's correspondence regarding Christ-Janer's artwork and career, his death in Italy, as well as general correspondence and letters between Virginia and Albert. Additional correspondence is found within the Professional Files, Project Files, and Teaching Files.

Writings by Christ-Janer include articles, book reviews, essays, notes, and eleven notebooks. There are also a few miscellaneous articles and writings about Christ-Janer written by others. There are 38 annotated appointment notebooks and five of Virginia Christ-Janer's annotated appointment books. Annotations are about meetings, travel, and general thoughts.

Albert Christ-Janer's book projects are documented in the Project Files series. There are drafts, manuscripts, research, and correspondence relating to the research, writing, and publication of five of his books, including George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962), and Modern Hymns (1980). Project files also include files regarding proposed projects.

Professional files document Christ-Janer's work at various institutions, as a consultant, on juried art exhibitions, memberships in arts associations, activities at conferences and committees, and the development of art centers in cities and educational institutions. There is significant documentation of his work planning and developing an arts center in New York City and at New York University, as well as his positions at Pennsylvania State University, Pratt Institute, University of Chicago, and University of Georgia. Also found are materials relating to professional trips taken to El Paso, Italy, Scandinavia, and other parts of Europe.

Teaching files consist of syllabi, lecture notes and course materials, class record books, and other documents for positions at New York University, Pennsylvania State University, Stephens College, University of Georgia, and other institutions. Exhibition files are comprised of lists, prizes and awards, and other scattered documentation of Christ-Janer's solo and group exhibitions.

Financial and estate records include five account books, miscellaneous bills and receipts, a will and estate taxes and financial papers, and files for gallery transactions, lists of galleries representing Christ-Janer, lists of museum and private collectors of Christ-Janer's artwork. Printed materials include exhibition catalogs and announcements, published versions of Christ-Janer's books, books written by others and annotated by Christ-Janer, clippings, magazines, reviews, and printed material relating to Pratt Institute. There is one bound scrapbook and several files of loose scrapbook materials.

The scrapbooks series consists of one completed scrapbook concerning Christ-Janer's book on George Caleb Bingham, as well as several folders of general scrapbook files.

Photographs and slides depict Albert Christ-Janer, family, friends, artists, colleagues, exhibitions, and also include photographs compiled for published books.

Artwork includes numerous drawings, sketches, one sketchbook, and 111 lithographs by Albert Christ-Janer. There are also sketches and drawings by Charles Massey, John D. Whiting, Edwin Zoller, and others. Miscellaneous artifacts include a business card die, exhibition medals and trophy, handmade paperweight, a block-printed piece of fabric, and three graduation hoods.
Arrangement:
This collection is arranged as 14 series:

Missing Title

Series 1: Biographical Material, circa 1930-circa 1986 (Boxes 1-2, 51, 53, 67, OV 54, OV 57; 2.1 linear feet)

Series 2: Correspondence, circa 1937-1990 (Boxes 2-16, 51, 67, OV 55; 15.1 linear feet)

Series 3: Writings, circa 1930s-1972 (Boxes 16-18, 51; 1.5 linear feet)

Series 4: Appointment Books, 1939-1973 (Boxes 18-21; 2.9 linear feet)

Series 5: Professional Files, circa 1933-circa 1986 (Boxes 21-28, 51-52, 67-69; 10 linear feet)

Series 6: Project Files, 1937-circa 1981 (Boxes 28-34, 51, 69; 6.1 linear feet)

Series 7: Teaching Files, circa 1939-circa 1973 (Boxes 34-35; 0.6 linear feet)

Series 8: Exhibition Files, circa 1938-circa 1992 (Boxes 35-38; 2.7 linear feet)

Series 9: Financial and Estate Records, circa 1947-1992 (Boxes 38-40; 2.4 linear feet)

Series 10: Printed Material, 1915-circa 1993 (Boxes 40-49, 51-52, 69; 8.7 linear feet)

Series 11: Scrapbooks, circa 1936-circa 1952 (Boxes 49, 51; 0.5 linear feet)

Series 12: Photographs, circa 1937-circa 1986 (Boxes 49-51, OV 56; 0.7 linear feet)

Series 13: Artwork, circa 1933-circa 1970s (Boxes 50-52, 69, OV 58-66; 1.1 linear feet)

Series 14: Artifacts, 1923-circa 1986 (Boxes 50, 53; 0.9 linear feet)
Biographical / Historical:
Albert Christ-Janer (1910-1973) was a painter, printmaker, art historian, writer, and educator active at colleges and universities across the U.S.

Albert Christ-Janer was born in Appleton, Minnesota in 1910 and studied at the Art Institute of Chicago, Yale University, and Harvard University. Christ-Janer wrote about American artists Boardman Robinson and John Caleb Bingham, and taught at a variety of institutions, including Stephens College, Cranbrook Academy, Pratt Institute Art School, and the University of Georgia. He was also an artist-in-residence at Tamarind Lithography Workshop in 1972.

Christ-Janer began his teaching career at Stephens College in Columbia, Missouri in 1934, and soon became head of the art department. He moved to Michigan to accept the position of head of the art department and professor of art at Michigan State University in 1942. In 1945, he began working for the Cranbrook Academy in Bloomfield Hills, Michigan, serving as director of the educational program, director of the museum and library, and professor of art history.

In 1947, Christ-Janer moved to Chicago and worked at the University of Chicago and the Arts Center Association, Inc. In the 1950s, he served as director of Arts Center Development at New York University, director of the School of Arts at Pennsylvania State University, and on the Lake Erie College Board of Trustees. In 1958, he moved to New York and become dean of the School of Art and Design at the Pratt Institute in Brooklyn, later becoming director. He left Pratt in 1970 to accept the position of Fuller E. Callaway Professor of Art at the University of Georgia, where he remained until his tragic death in 1973.

Christ-Janer was the author of several books: Art in Child Life (University of Iowa Press, 1938), George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962).

Albert Christ-Janer was a Guggenheim Fellow in 1950, awarded the Rockefeller Award in 1954, and the Guggenheim Award in 1960. He was also awarded multiple grants from the American Philosophical Society and the J. M. Kaplan Fund for research and work in lithography, as well as multiple Arthur Judson grants. In 1972 Christ-Janer was the Tamarind artist-in-residence at the University of New Mexico in Albuquerque.

Christ-Janer traveled often. In 1962 he was a guest of the Bonn government for two months to visit museums and schools of design in Germany. And in 1964, he was a guest of the governments of Denmark, Norway, Finland, and Sweden for two months to study schools, museums, and cultural centers. In July of 1973, Christ-Janer was the official NASA artist for the Skylab III launch, and in October of 1973, he was the studio guest of the Norway-America Association and the Norwegian government in Oslo. From November to December of 1973, Christ-Janer was the scholar-in-residence at the Study and Conference Center of the Rockefeller Foundation (Centro Culturale delle Fondazione Rockefeller), at the Villa Serbelloni in Bellagio (Como), Italy.

Albert Christ-Janer was killed in an automobile accident in Bellagio (Como), Italy on December 12, 1973.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Albert Christ-Janer conducted by Dorothy Seckler, March 21, 1964.

Albert Christ-Janer's research materials for his book American Hymns Old and New (1980) are found at the St Olaf College in Northfield, Minnesota, a center for the study of hymns.
Provenance:
The Albert Christ-Janer papers were donated by Virginia Christ-Janer in 1980-1981 and 1994.
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.

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:
Printmakers -- Georgia  Search this
Painters -- Georgia  Search this
Art historians -- Georgia  Search this
Topic:
Art -- Study and teaching  Search this
Genre/Form:
Sketchbooks
Christmas cards
Sound recordings
Blueprints
Scrapbooks
Photographs
Prints
Drawings
Sketches
Citation:
Albert Christ-Janer papers, 1915-circa 1993, bulk 1930-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chrialbe
See more items in:
Albert Christ-Janer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9584bb216-26f7-46c7-9acc-dd6fe21ea117
EDAN-URL:
ead_collection:sova-aaa-chrialbe

Myron Barlow letters to Lawton S. Parker

Creator:
Parker, Lawton, 1868-1954  Search this
Barlow, Myron, 1873-1937  Search this
Extent:
6 Items
Type:
Collection descriptions
Archival materials
Date:
1933
Scope and Contents:
Six letters from Myron Barlow to Lawton S. Parker. Barlow writes about his prints and printing methods.
Biographical / Historical:
Lawton S. Parker (1868-1954) was a painter in Chicago, Illinois and Detroit, Michigan. Myron Barlow (1873-1937) and Parker were friends.
Provenance:
Donated 2017 by the Illinois Historical Art Project via Joel Dryer, Executive Director. The letters, originally sold by the estate of Lawton S. Parker to Knoke Fine Arts, Atlanta, Georgia, were purchased by the R.H. Love Galleries, Chicago, Illinois and then by the Illinois Historical Art Project.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- Illinois -- Chicago  Search this
Painters -- Michigan -- Detroit  Search this
Printmakers  Search this
Topic:
Printing -- Technique  Search this
Identifier:
AAA.parklawt
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90f776344-14b8-4455-a06c-71f2da23fb55
EDAN-URL:
ead_collection:sova-aaa-parklawt

Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour

Creator:
Anacostia Neighborhood Museum  Search this
Jones, Brian  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran School of Art (Washington, D.C.)  Search this
Howard University  Search this
Stovall Workshop Inc.  Search this
Gilliam, Sam, 1933-2022  Search this
McNeill, Lloyd  Search this
Porter, James A. (James Amos), 1905-1970  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
5 Sound recordings (audio cassette)
Type:
Archival materials
Sound recordings
Narration
Place:
Washington (D.C.)
Georgia
Springfield (Mass.)
United States
Date:
1983
Scope and Contents:
Brian Jones provides the narration for the self guided audio tour for the exhibition, Through Their Eyes: The Art of Lou and Di Stovall. The life history of Lou and Di Stovall and their work with the Stovall Workshop Inc., Lou's relationship with Sam Gilliam and Lloyd McNeill, Lou's work with the Corcoran Gallery, Di's education at the Corcoran School of Art, the meaning of the poster, and Lou's passion for drawing are briefly discussed. Individual works - posters, prints, and fine art - by Lou and Di, including a collaboration piece by Gilliam and Lou, are described.
Audio tour script - unedited audio narration. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003296-3: sound distorted. Dated 19831026, 19831027. AV001367 and AV001377: dated 198310. AV001368 and AV001369: dated 19831020. AV001365: undated.
Biographical / Historical:
Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.
Local Numbers:
ACMA AV003296-1

ACMA AV003296-2

ACMA AV003296-3

ACMA AV001367

ACMA AV001377

ACMA AV001368

ACMA AV001369

ACMA AV001365
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Narration
Series Citation:
Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001, Item ACMA AV003450
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa731fd1d52-7513-46ba-85bd-f42d01585523
EDAN-URL:
ead_component:sova-acma-03-001-ref68

Stovall Workshop Inc. Slide Show

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran Gallery--Dupont Center  Search this
Stovall Workshop Inc.  Search this
Bronson, David  Search this
Fralin, Frances  Search this
McNeill, Lloyd  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Narration
Place:
Washington (D.C.)
Atlanta (Ga.)
United States
Date:
1983
Scope and Contents:
Stovall Workshop Inc. Slide Show focuses on the formation of Workshop by Lou Stovall and Lloyd McNeill from its origins at the Corcoran Gallery of Art to its current location in northwest Washington, D.C. Stovall's and McNeill's poster work, the development of Stovall's silkscreen process, landscape designs, and use of color are also described. In interview clips, Francis Fralin and David Bronson provide memories about Stovall, McNeill, and Workshop. M. Murray provides the narration.
Music, narration, and interview clips edited for slide show. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003444-1 and AV003509-2: music, narration, and interview clips. AV003444-2: narration and interview clips only. AV003509-1: constant beeps over music, narration, and interview clips. AV003444 labeled final mix. Dated 19830902 [AV003444]. Undated [AV003509].
Biographical / Historical:
Stovall Workshop Inc. Slide Show is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Stovall Workshop Inc. was formed as a result of a poster collaboration between printmaker Lou Stovall and designer Lloyd McNeill in 1966. Printmaking, sculpture, photography, and furniture making were directed by Stovall in Workshop, first located at the Concoran Gallery of Art [Corcoran Gallery Dupont Circle]. By 1973, Stovall moved Workshop to northwest DC.
Local Numbers:
ACMA AV003444-2

ACMA AV003509-1

ACMA AV003509-2
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Narration
Citation:
Stovall Workshop Inc. Slide Show, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003444-1
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7e17c3361-7603-4634-98bb-4502a75a18ef
EDAN-URL:
ead_component:sova-acma-03-001-ref69

Stovall Workshop Inc. Slide Show Interviews

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Corcoran Gallery of Art  Search this
Corcoran Gallery--Dupont Center  Search this
Stovall Workshop Inc.  Search this
Bronson, David  Search this
Cook, Dana  Search this
Davis, Gene, 1920-1985  Search this
Fralin, Frances  Search this
Gilliam, Sam, 1933-2022  Search this
Hopps, Walter  Search this
McGowin, Ed, 1938-  Search this
McNeill, Lloyd  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Interviews
Place:
Washington (D.C.)
Atlanta (Ga.)
United States
Date:
1983
Scope and Contents:
Interviews with Dana Cook, Francis Fralin, and David Bronson for Stovall Workshop Inc. Slide Show, which focused on the formation of Workshop by Lou Stovall and Lloyd McNeill from its origins at the Corcoran Gallery of Art to its current location in northwest Washington, D.C. Cook, an illustrator and printmaker, discusses her experience working with and learning from Stovall at Workshop. Fralin speaks of Walter Hopps' outreach program idea leading to a relationship between Stovall and the Corcoran Gallery of Art, development of the Workshop at the Corcoran Gallery Dupont Circle, Stovall's and McNeill's poster collaboration, Stovall's silkscreening and drawing, Di Stovall's art and imagination, and other Workshop and Corcoran artists, including Sam Gilliam, David Bronson and Gene Davis. Bronson, a technician and craftsman, discusses his role at Workshop: helping to set up Workshop at Corcoran, learning silk screen process, working in woodshop, and creating prints for artists, including Ed McGowin for Name Change exhibition at Baltimore Museum of Art. All speak of Stovall's personality as a person, teacher and leader, particularly his perfectionist nature and high standards.
Interviews for slide show about Stovall Workshop Inc. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dana Cook interview dated 19830801: AV003309-1. Frances Fralin interview dated 19830809: AV003309-1 and AV003309-2. David Bronson interview dated 19830810: AV003314. All recordings have some distortions or skips in sound recording.
Biographical / Historical:
Stovall Workshop Inc. Slide Show is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression from posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Stovall Workshop Inc. was formed as a result of a poster collaboration between printmaker Lou Stovall and designer Lloyd McNeill in 1966. Printmaking, sculpture, photography, and furniture making were directed by Stovall in Workshop, first located at the Concoran Gallery of Art [Corcoran Gallery Dupont Circle]. By 1973, Stovall moved Workshop to northwest DC.
Local Numbers:
ACMA AV003309-2

ACMA AV003314
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Posters  Search this
Landscapes  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Stovall Workshop Inc. Slide Show Interviews, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003309-1
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7e787faf3-2445-469d-92c0-fc3ed72efc9e
EDAN-URL:
ead_component:sova-acma-03-001-ref70

Lou Stovall

Creator:
Anacostia Neighborhood Museum  Search this
Reinckens, Sharon A.  Search this
Capilongo, Christopher  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Sound recording (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Documentary films
Place:
Washington (D.C.)
United States
Date:
1983
Scope and Contents:
Artist Lou Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. He also discusses his ability and passion for drawing.
Short documentary. Audio only [most likely there is related 16mm film which has not been digitized yet]. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dated 19940329.
Biographical / Historical:
Lou Stovall is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Genre/Form:
Sound recordings
Documentary films
Citation:
Lou Stovall, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV000957
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7ac2fe4b6-8d8d-41a6-b786-70862f5739f2
EDAN-URL:
ead_component:sova-acma-03-001-ref80

Lou Stovall Interview - Silk Screen Process

Creator:
Anacostia Neighborhood Museum  Search this
Reinckens, Sharon A.  Search this
Capilongo, Christopher  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Gilliam, Sam, 1933-2022  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Documentary films
Interviews
Place:
Washington (D.C.)
United States
Date:
1983
Scope and Contents:
Interview with Lou Stovall for documentary in which Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. During the interview, Stovall discusses his ability and passion for drawing, hiding the human figure in landscape compositions, working with stencils and proofing strips, details of the reductive printing process, integration of color in his work, silk screen printing as a technical medium, art intelligence, aesthetics in his work and other artists, where he gets his inspiration, and Sam Gilliam's work and abstract art.
Interview for short documentary titled Lou Stovall. Audio only. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV003305: audio skips and minimal distortions. Dated 19830627.
Biographical / Historical:
Lou Stovall Interview - Silk Screen Process is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.
Local Numbers:
ACMA AV003305-2

ACMA AV003281
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Genre/Form:
Sound recordings
Documentary films
Interviews
Citation:
Lou Stovall Interview - Silk Screen Process, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003305-1
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7bb229130-69d9-455f-8f72-b9ba1e565722
EDAN-URL:
ead_component:sova-acma-03-001-ref81

Lou Stovall Sound Rolls and Narration

Creator:
Anacostia Neighborhood Museum  Search this
Reinckens, Sharon A.  Search this
Capilongo, Christopher  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
10 Sound recordings (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Documentary films
Interviews
Outtakes
Ambient sounds
Sound effects recordings
Place:
Washington (D.C.)
United States
Date:
1983
Scope and Contents:
Sound rolls for short documentary titled Lou Stovall in which Stovall demonstrates and speaks about his silk screen printing process and use of color in detail. Interviews, narration, ambient sounds, foley sound effects, and demonstration of screen printing process contained on sound rolls. During the interview segments, Stovall discusses his ability and passion for drawing, working with stencils and proofing strips, details of the reductive printing process, mixing and integrating of color in his work, and silk screen printing as a technical medium. Some of the footage, particularly AV003285, AV003287 and AV003288, consists of almost exclusively demonstration [sounds of the screen printing process].
Sound rolls and narration for short documentary titled Lou Stovall. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Audio only. Most likely there is film which syncs with sound rolls, except AV003276 [no camera/image according to statement at beginning of sound roll]. AV003506: Sound Roll 1. AV003288: Sound Roll 2. AV003285: Sound Roll 3. AV003276: Sound Roll 4. AV003313: Sound Roll 5. AV003498: Sound Roll 6. AV003287: Sound Roll 7. AV003303: Sound Roll 8. AV003289: Sound Roll 9. AV003447: Lou Stovall Narration [distortion at beginning of recording]. Dated 19830803 [AV003506], 19830804 [AV003276, AV003285, AV003288, AV003498], 19830805 [AV003287, AV003303], 19830824 [AV003289]. Undated [AV003313, AV003447].
Biographical / Historical:
Lou Stovall Sound Rolls and Narration is related to an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.
Local Numbers:
ACMA AV003285

ACMA AV003287

ACMA AV003288

ACMA AV003289

ACMA AV003303

ACMA AV003313

ACMA AV003447

ACMA AV003498

ACMA AV003506
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Art  Search this
Prints  Search this
Screen prints  Search this
Landscapes  Search this
Drawing  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Color in art  Search this
Genre/Form:
Sound recordings
Documentary films
Interviews
Outtakes
Ambient sounds
Sound effects recordings
Citation:
Lou Stovall Sound Rolls and Narration, Exhibition Records AV03-001, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-001, Item ACMA AV003276
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa73ab81cb4-e843-4d1e-a8d1-87f13e796058
EDAN-URL:
ead_component:sova-acma-03-001-ref82

Through Their Eyes: The Art of Lou and Di Stovall Walk Thru Tour with Lou and Di

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (audio cassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1983
Scope and Contents:
Lou and Di Stovall walk through the exhibition 'Through Their Eyes: The Art of Lou and Di Stovall' with Zora Martin-Felton. The Stovalls talk about various pieces of their artwork displayed throughout the exhibition. They also speak of their artistic process and style.
Exhibiton tour. Sound only. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. AV001364: dated 19830923. AV001346: dated 19830925.
Biographical / Historical:
Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.
Local Numbers:
ACMA AV001364_B

ACMA AV001346_A

ACMA AV001346_B
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Prints  Search this
Screen prints  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Museum exhibits  Search this
Exhibitions  Search this
Genre/Form:
Sound recordings
Series Citation:
Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001, Item ACMA AV001364_A
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7ab807585-83ae-47f0-957b-c65734f4e478
EDAN-URL:
ead_component:sova-acma-03-001-ref83

Through Their Eyes: The Art of Lou and Di Stovall Exhibition Tour for Students led by Brian Jones

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Sound recording (audio cassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1984
Scope and Contents:
Brian Jones led an interactive tour of the exhibition 'Through Their Eyes: The Art of Lou and Di Stovall' for JHS students during February 1984.
Exhibiton tour - educational program. Sound only. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Dated 198402.
Biographical / Historical:
Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.
Local Numbers:
ACMA AV001363_B
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Prints  Search this
Screen prints  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Museum exhibits  Search this
Museums and community  Search this
Students  Search this
Genre/Form:
Sound recordings
Series Citation:
Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001, Item ACMA AV001363_A
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7d127bd1a-918f-4492-877e-8590d3187edb
EDAN-URL:
ead_component:sova-acma-03-001-ref84

Through Their Eyes: The Art of Lou and Di Stovall Exhibition Tour led by Brian Jones

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Stovall Workshop Inc.  Search this
Stovall, Di Bagley, 1947-  Search this
Stovall, Lou  Search this
Collection Creator:
Anacostia Community Museum  Search this
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Sound recording (audio cassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1984
Scope and Contents:
Brian Jones led an interactive tour, possibly for students, of the exhibition 'Through Their Eyes: The Art of Lou and Di Stovall.'
Exhibiton tour - educational program. Sound only. Part of Through Their Eyes: The Art of Lou and Di Stovall Audiovisual Records. Undated.
Biographical / Historical:
Through Their Eyes: The Art of Lou and Di Stovall Self Guided Audio Tour was created for an exhibition featuring the works of Washington, D.C. artists, Lou and Di Stovall, organized by the Anacostia Neighborhood Museum and held there from September 18, 1983 - March 4, 1984. The exhibition, Through Their Eyes: The Art of Lou and Di Stovall, showcased 84 works - silkscreen prints, drawings, and arcylic paintings - illustrating the artists' progression form posterists to master printmaker and miniaturist, respectively. The art was complemented by audiovisual presentations on the technique of silkscreen printing and a biographical essay on the artists.;Lou Stovall was born Luther McKinley Stovall in Athens, Georgia in 1937. When Stovall was four years old, his family moved north to Springfield, Massachusetts to find work. At age of fifteen, he was an apprentice to Al LaPierre in his silkscreen sign shop at the Growers Outlet Super Market. In 1956, Stovall received a grant and scholarship to attend Rhode Island School of Design. After the first semester, his father became ill so Stovall returned home to support his family for about five or six years. When he returned to school, Stovall attended Howard University, where he received a B.F.A. in 1965. James Lesesne Wells introduced to Stovall to silkscreen as a fine art rather than a commercial medium. Stovall also learned about collaboration in printmaking (artist and printer combining ideas and skills to create a work of art) from Wells. In 1968, Stovall received a grant to buy printmaking equipment. However, he made most of the tools and tables himself creating a full scale printmaking, wood making, and metal workshop in Washington, D.C. Under his direction, Workshop Inc. has grown from a small but active studio primarily concerned with community posters into a professional printmaking outfit. Stovall creates his own original silkscreen prints and is the printmaker of choice for other master artists including Elizabeth Catlett, David C. Driskell, and Sam Gilliam. For each work of art, he finds new and unique ways to replicate as closely as possible a painting supplied by the artist. He has the ability to make the medium do just about anything he and the artist(s) want it to do. Stovall's innovative techniques and distinctive style is credited by artists and critics with helping to transform the concept of silkscreen printmaking from a commercial craft to a true art form. In 1971, Stovall married Di Bagley, a painter who specializes in acrylic on paper and incorporates miniature images into many of her works.;Di Stovall, also known as Di Bagley Stovall and Di Bagley, was born in Columbus, Georgia in 1947. As a child, she loved collecting small things, animate and inanimate. Stovall studied with Barbara Pound, a painter known for landscapes, oil, and watercolor, throughout her childhood and teenage years. In the late 1960s, Stovall was educated at Columbus College and Bradley Museum, both in Georgia, before moving to Washington, D.C. to attend Corcoran School of Art. Stovall is a noted master of the miniature, creating representational and abstract images painted in absorbing detail. Although she creates drawings, prints, and watercolors, she prefers to work with acrylic on paper to capture the minute detail she seeks. Stovall's work also includes acrylic paint on glass, hand-crafted jewelry, and wooden cabinetry. Overall, Stovall's work is colorful, whimsical, and sophisticated. Color is extremely important to her. In 1971, she married Lou Stovall, a printmaker.
Local Numbers:
ACMA AV001366_B
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American printmakers  Search this
Printmakers  Search this
African American artists  Search this
Prints  Search this
Screen prints  Search this
Prints -- Technique  Search this
Serigraphy  Search this
Museum exhibits  Search this
Museums and community  Search this
Genre/Form:
Sound recordings
Series Citation:
Through Their Eyes: The Art of Lou and Di Stovall audiovisual records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-001, Item ACMA AV001366_A
See more items in:
Through their eyes: the art of Lou and Di Stovall exhibition records
Through their eyes: the art of Lou and Di Stovall exhibition records / Series ACMA AV03-001: Through Their Eyes: The Art of Lou and Di Stovall audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa73e0a8c29-ade9-4901-af28-d9fc855066f0
EDAN-URL:
ead_component:sova-acma-03-001-ref85

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