Quotes and excerpts must be cited as follows: Oral history interview with Robert Indiana, 1963 Sept. 12-Nov. 7. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Rudy Pozzatti, 1977 June 29-1978 Jan. 11. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Vija Celmins, 2009 February 11-October 15. Archives of American Art, Smithsonian Institution.
The papers of painter and printmaker Eldzier Cortor measure 3.1 linear feet and date from circa 1930s to 2015, with the bulk of the papers dating from 1972 to 2015. The papers contain biographical material, correspondence, professional files, exhibition and gallery files, writings, printed material, artwork, and photographs.
Scope and Content Note:
The papers of painter and printmaker Eldzier Cortor measure 3.1 linear feet and date from circa 1930s to 2015, with the bulk of the papers dating from 1972 to 2015. The papers contain biographical material, correspondence, professional files, exhibition and gallery files, writings, printed material, artwork, and photographs.
Biographical material consists of awards certificates; Cortor's artist biography; an obituary and prayer cards for his father in law; an address book; and a Christmas list.
Correspondence includes letters from Cortor's family; correspondence with or about individuals or organizations; and general correspondence. Individuals included in the general correspondence are Acklyn Lynch, Leontine Collier, Violetta Harrigan, Halima Taha, David C. Driskell, Carol Anderson, and Betye Saar. Art institutions represented in this series include Sylvan Cole Gallery, Anderson Gallery, and Kenkeleba House.
Professional files include materials related to the Cosby Collection of Fine Arts; publishing; materials related to fake Cortor works; the Public School Mural Project; teaching files; lists of possible titles for paintings; financial documents; materials related to painting and etching plates for storage; and notes of museum and gallery contacts.
Exhibition and gallery files include correspondence; contracts and agreements; exhibition announcements; inventories; other exhibition materials; clippings; press releases; photographs and photocopied images of artwork; and photographs of exhibitions.
Writings consist primarily of essays and articles about Eldzier Cortor. Also included are his answers to a questionnaire about art, a diary, and notes, as well as hand-copied excerpts of reviews.
Printed material includes exhibition announcements, exhibition catalogs, newsletters, clippings, research and source material, and books.
Artwork includes ink and watercolor sketches from Cortor's time as a student at the Art Institute of Chicago. This series also includes additional sketches, sketchbooks, and a collage by K. Carracio.
Photographs depict Cortor, other individuals, his artwork, and exhibitions. There are also photographs from his time in Cuba and Haiti (circa 1950s).
Arrangement:
The Eldzier Cortor papers are organized into 8 series.
Missing Title
Series 1: Biographical Material, 1947-2012 (Box 1; 5 folders)
Series 2: Correspondence, 1970-2015 (Box 1; 8 folders)
Series 3: Professional Files, 1960, 1972-2015 (Box 1; 0.2 linear feet, OV 4)
Series 4: Exhibition and Gallery Files, 1972-2015 (Boxes 1-2; 0.7 linear feet)
Series 5: Writings, circa 1970s-2006 (Box 2; 8 folders)
Series 6: Printed Material, 1940-1976, 1996-2015 (Boxes 2-3; 0.8 linear feet, OV 4)
Series 7: Artwork, circa 1930s, circa 1970s-circa 1990s (Box 3; 0.2 linear feet)
Series 8: Photographs, 1939-2002, 2014 (Box 3; 0.5 linear feet)
Biographical Note:
Eldzier Cortor (1916-2015) spent his professional career as a painter and printmaker in Chicago and New York. He was born in Richmond Virginia to John and Ophelia Cortor. In 1917, the family moved to Chicago along with countless other African Americans as part of the Great Migration.
In 1936, Cortor began taking evening classes at the Art Institute of Chicago prior to enrolling full time. Kathleen Blackshear, an instructor at the Institute, recommended Cortor for employment at the Works Projects Administration in 1940. It was under Blackshear's guidance that Cortor was introduced to African Art. The depiction of African Americans became the defining subject of Cortor's career, specifically the portrayal of the African American woman, which he commonly represented nude in paintings and prints.
In 1941, with funding by the Works Projects Administration, Cortor helped found the South Side Community Arts Center in Chicago. Over the next few years he would receive two Rosenwald Fellowships, which allowed him to travel to the Sea Islands of Georgia. Afterward, Cortor moved to New York, and in 1946 Life magazine published his work Southern Gate. In 1949 he received a Guggenheim fellowship, which provided the opportunity to travel to Cuba, Jamaica, and Haiti. He settled in Port-au-Prince, where he taught for two years.
Cortor married Sophia Schmidt on August 20, 1951, and they subsequently had four children: Michael, Mercedes, Stephen, and Miriam. His work has been exhibited at the Museum of Fine Arts, Boston, Studio Museum of Harlem, and the National Center of Afro-American Artists in Boston. Notable exhibitions include Three Masters: Eldzier Cortor, Hughie Lee-Smith, and Archibald John Motley, Jr. at Kenkeleba House in 1988; Southern Gate: African American Paintings from the National Museum of American Art, Smithsonian Institution at Duke University Museum of Art, 1999; Eldzier Cortor: Master Printmaker at the Boston Psychoanalytic Society and Institute, 2002; and Black Spirit: Works on Paper by Eldzier Cortor at the Indiana Art Museum, 2006.
Eldzier Cortor died in November of 2015, at the age of 99.
Related Material:
The Archives of American Art also holds microfilm of materials lent for microfilming on reel N70-47, including biographical material, correspondence, printed material, papers related to exhibitions, photographs, and sketchbooks. Except for three photographs that appear in this collection (Box 3, Folder 19), loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Eldzier Cortor loaned materials to the Archives of American Art for microfilming in 1970 and donated papers in 2009. His son, Michael Cortor, gave additional materials in 2016.
Restrictions:
Use of 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.
The Kenneth M. Davis papers measure 0.2 linear feet and date from circa 1968-2005. The small collection relates to Kenneth M. Davis' reserarch about Leon Kroll and his career an an art history professor. Included are two letters from Leon Kroll, one letter from Paul Cadmus, and three letters from Alexander Hogue in support of Davis' dissertation "The Life and Work of Leon Kroll with a Catalog of his Nudes", Ohio State University, 1993; a project file containing letters, photographs, printed material and writings regarding research prepared by Thomas Lingeman, a student of Kenneth Davis', at Ball State University comparing Claes Oldenburg's and Christo's monuments; a biography and printed material on Alexander Hogue sent to Davis from Christo; three letters to Davis from artist and colleague, Sid Chafetz, and printed material regarding Chafetz; a photograph of a work of art signed by Sol Lewitt; and a newspaper clipping about the show "Ohio Printmakers" at Kenyon College, 1968.
Biographical / Historical:
Kenneth M. Davis (1939- ) is a retired art history professor in Washington, D.C. Davis taught at Ball State University, Muncie, Indiana from 1970-2008.
Provenance:
Donated 2018 and 2019 by Kenneth M. Davis.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Scope and Contents:
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Administrative files consist of some general correspondence, building lease material and rent payments, insurance policies, board and staff meeting notes, marketing plans, and memberships in various print organizations. Also included are inventory lists, calendar books, and binders on printing techniques.
Financial records consist of appraisals, general budgets for the company, financial statements and reports, and receipts. Also included are general invoices from 1992 to 2013, invoices for advertising, sales, shipping, and some supplies; and invoices for legal and financial services.
Artist files consist of artist statements, correspondence, inventory of works, resumes, and printed materials for artists represented by the publishing company. Some of the represented artists include: Claudia Bernardi, Edward Curtis, Dan Rizzie, Victor Ramirez, and Alberto Rios. Also included are files on James Turrell and his Roden Crater project such as the project journal, proposal and agreement, site studies, and notes.
Exhibition and project files consist of exhibitions featuring artist represented by the publishing company and various art festivals and graphic design conferences that the publishing company participated in. Materials include correspondence, loan agreements, clippings, brochures, and some shipping receipts. Also included are two VHS tapes produced by the Segura Publishing Company. Events include the Art on Paper Fair Los Angeles, International Contemporary Art Fair 1997, Impact conference South Africa, the Arizona International Latina/o Art Festival, and the US Latino Printmaking in the 21st Century Consejo Grafico Conference.
Commission files consist of agreements the Segura Publishing Company made with various organizations and individuals to exhibit and sell prints of artwork for a percentage of the profits. Materials include correspondence, consignment agreements, some invoices and price lists, slides of artwork, and some printed material. Some of the partnered organizations include: George Adams Gallery, Art in Embassies Program, Aldo Castillo Gallery, Jean Efron Art Consultants, Hispanic Research Center, Microsoft, Museum of Latin American Art, Santa Clara University, Walker Art Center, and Yale University Art Gallery.
Printed material consists of clippings, exhibition announcements and catalogs for exhibitions featuring the company's prints, press releases, "Photographic Methods in Lithography During the Nineteenth Century" by Beauvais Lyons, articles related to Albert Rios and articles on the James Turrell Roden Crater project, newsletters produced by the company, and material related to certain organizations such as the Institute for Latino Studies and Scottsdale Museum of Art.
Photographic material consists of photographs of Segura Publishing Company and some of its workers, photographs of Joe Segura and Lisa Sette, photographs and slides of artwork, and photographs of prints on display.
Joe Segura papers consist of documentation on Joe Segura's work outside of the Publishing Company, primarily related to his teaching career at Arizona State University in the 1990s. Materials include correspondence, letters of recommendations, faculty schedules, and materials for courses such as "Photo Processes for Printmaking," "Photogravure," and "Collotype Printing." Also included are a resume, lecture note cards, and a small sketchbook.
Arrangement:
The collection is arranged into eight series.
Series 1: Administrative Files, 1979-2013 (2.2 linear feet; Boxes 1-3)
Series 2: Financial Records, 1988-2013 (1.5 linear feet; Boxes 3-5)
Series 3: Artist Files, 1984-2014 (0.8 linear feet; Boxes 5-6)
Series 4: Exhibition and Project Files, 1994-2008 (0.4 linear feet; Box 6)
Series 5: Commission Files, 1988-2012 (4.0 linear feet; Boxes 6-10)
Series 6: Printed Material, 1981-2009 (0.3 linear feet; Box 10)
Series 7: Photographic Material, circa 1983-2004 (0.2 linear feet; Box 11)
Series 8: Joe Segura papers, 1976-2013 (1.2 linear feet; Boxes 11-12)
Biographical / Historical:
Joe Segura (1946- ) is a printmaker currently residing in South Bend, Indiana. Segura completed his studies at Southern Illinois University earning both a BFA and MFA in Painting and Drawing in 1975 and 1977. Segura, along with Lisa Sette, founded the Segura Publishing Company, Tempe, Arizona, in 1981. The company produced fine-art limited edition prints and monotypes by leading contemporary artists. In addition to his work at Segura Publishing Company, Segura has also taught and served as the studio manager for the print facility at Arizona State University.
Provenance:
Donated in 2018 and 2022 by Joe Segura.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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.
The microfilmed Garo Z. Antreasian papers contain biographical information; and files on mural projects, printmakers, print collections, and art organizations. Also included are materials related to Antreasian's lectures, workshops, art juries, conferences, and his print sales. Exhibition announcements; catalogs; invitations; writings and lectures on printmaking; clippings; sketches and a lithograph (Christmas card); and photographs of Antreasian and his works (undated and 1948-1979) are also included in the collection.
Biographical / Historical:
Garo Z. Antreasian (1922-2018) was a painter, lithographer, and educator in Albuquerque, New Mexico. He studied at the Herron School of Art in Indianapolis, Indiana. Antreasian was closely associated with the Tamarind Lithography Workshop, serving as its first technical director and master printer in 1960. He wrote extensively on the technical and aesthetic aspects of printmaking.
Related Materials:
The Archives of American Art also holds the oral history interview with Garo Zareh Antreasian, 1974 March 29 and the microfilmed Tamarind Lithography Workshop records, 1954-1984.
The University of New Mexico University Libraries, Center for Southwest Research holds the Garo Z. Antreasian papers, 1942-2005 (bulk 1950-1990).
Provenance:
Lent for microfilming 1984 by Garo Z. Antreasian. Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Business and personal letters to Pickens (1943-69), notes and other papers relating to his art instruction (1950-53), art exhibition announcements (1955-56), financial records (1949-56), and four leftist political magazines from the 1940's, one of which contains some of Pickens' sketches. In addition, there are a few photographs of unknown subjects.
Biographical / Historical:
Alton Pickens (1917- 1991) was a painter, printmaker, and instructor. He taught art at Indiana University and Vassar College.
Provenance:
Donated 1989 by Alton Pickens via Paul Schweizer.
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.
Administrative records, such as by-laws, staff lists, supply lists and receipts, equipment inventories, and sales records; artists files; correspondence; edition records; publications created to market the prints; catalogs of exhibitions; and patron records. Also included are personal correspondence and lecture notes of founder Patricia Nick.
Biographical / Historical:
Fine art press; Vinalhaven, Maine. Founded 1985 by Patricia Nick. Closed in 1999. Among the artists' who produced prints were José Bedia, John Beerman, Mel Bochner, Peter Bodnar, Carolyn Brady, Grisha Bruskin, Louisa Chase, Mel Chin, Susan Crile, Robert Cumming, Patrick Dunfey, Aaron Fink, Leon Golub, Charles Hewitt, John Imber, Robert Indiana, Yvonne Jacquette, Dennis Kardon, Alex Katz, Komar and Melamid, Robert Morris, Alain Paiement, Kingsley Parker, Alison Saar, Peter Saul, Joan Thorne and Robert Zakanitch.
Provenance:
Donated 2000 Patricia Nick.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The Stephen S. Pace papers measure 6.0 linear feet and 3.79 GB and date from circa 1915 to 2010. The papers document Pace's career as an abstract expressionist painter through awards, resumes, and other biographical material; correspondence with family, friends, and art institutions; paintings, calendar books, exhibitions at various art galleries, and other professional material; rceipts, price lists, inventories, and other personal business records; newspaper and magazine clippings, exhibition announcements, catalogs, and other printed and digital material; and photographs, slides, and negatives of family and artwork.
Scope and Contents:
The Stephen S. Pace papers measure 6.0 linear feet and 3.79 GB and date from circa 1915 to 2010. The papers document Pace's career as an abstract expressionist painter through awards, resumes, and other biographical material; correspondence with family, friends, and art institutions; paintings, calendar books, exhibitions at various art galleries, and other professional material; receipts, price lists, inventories, and other personal business records; newspaper and magazine clippings, exhibition announcements, catalogs, and other printed and digital material; and photographs, slides, and negatives of family and artwork.
Arrangement:
The collection is arranged into six series.
Series 1: Biographical Material, 1936-2005 (0.1 linear feet; Box 1, 0.001 GB; ER01)
Series 2: Correspondence, 1949-2010 (0.8 linear feet; Box 1, 0.329 GB; ER02)
Series 3: Professional Activity Files, 1944-2008 (0.9 linear feet; Boxes 1-2, 3.25 GB; ER03-ER05)
Series 4: Personal Business Records, 1957-2007 (0.7 linear feet; Boxes 2-3, 0.200 GB; ER06-ER08)
Series 5: Printed Material, 1950-2010 (1.3 linear feet; Boxes 3-4, 8, OV 9)
Series 6: Photographic Material, circa 1915-2007 (2.2 linear feet; Boxes 4-8, 0.003 GB; ER09)
Biographical / Historical:
Stephen Pace (1918-2010) was a painter and printmaker in New York, New York. Pace is best known for his work as an Abstract expressionist. Pace studied at the Art Students League of New York. He donated a number of works to the University of Southern Indiana, and donated funding for the creation of the Palmina F. and Stephen S. Pace Galleries on the campus.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel N70-7) including photographs of Pace's paintings, Pace in his studio, and Pace with students; scrapbooks; and miscellaneous correspondence including a letter from Karl Knaths and collector Herman Spertus about a trip to the Far East. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
The Stephen S. Pace papers were donated in 2016 by the Stephen and Palmina Pace Trust via, Cathy Claman, trustee. Material on reel N70-7 was lent for microfilming in 1969 by Stephen Pace.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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
Stephen Pace papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Charles W. Dahlgreen papers measure 1.1 linear feet and date from 1886-1957. Included is biographical material, writings, correspondence, works of art, photographs, financial material, exhibition material and printed material.
Biographical material includes two biographical accountsand a manuscript for Dahlgreen's autobiography and certifcates from the Art Institute of Chicago and a Canadian mining certificate. Writings include 4 notebooks about on his works, recipes for paint and printmaking materials, and notes on his family history. Correspondence relates to Dahlgreen's art-related activities and his involvement with various art organizations. Artwork includes 9 sketchbooks, 1886-1908, and 45 drawings, 1906-1909. Photographs are of Dahlgreen in his studio, with his fiancee, his mobile studio, and his works of art. Also included are photographs of lodge banners, Leon Makielski posed with his portrait of Dahlgreen, Nicoli Fechin, and images of the Brown County, the Indiana Colony, the Society of Etchers members Lucie Hartrath and Bertha Jaques, and others. Financial material consists of an account book, 1912-1920, containing a price and sales list, an dues ledger, 1918-1923, a receipt book for works of art, 1933-1940, an income and expenses ledger, 1942-1947, an undated price list for works of art, miscellaneous receipts and address files and lists works of art. Exhibition material consists of 30 exhibition prospectuses. Printed material includes clippings and bulletins.
REEL 3954, frames 877-922 Three photographs of Dahlgreen; a photograph, ca. 1931, of his mobile studio; clippings, 1924-1936; and a scrapbook of clippings, 1901-1950.
Biographical / Historical:
Charles W. Dahlgreen (1864-1955) was a Painter and printmaker in Chicago, Ill.
Provenance:
Portions of material on reel 3954 donated 1986; and portions (fr. 877-922) lent for microfilming 1986 all by Grant Dahlgreen, Charles W. Dahlgreen's grandson. Additional material donated in 2020 by Kate Husar, Charles W. Dahlgreen's great-great-grandaughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An interview of Rudy Pozzatti conducted 1977 June 29-1978 Jan. 11, by Dennis Barrie, for the Archives of American Art.
Biographical / Historical:
Rudy Pozzatti (1925- ) is a printmaker and painter of Bloomington, Ind.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 42 min.
Provenance:
This interview is part of the Archives' 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.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
An interview of Vija Celmins conducted 2009 February 11-October 15, by Julia Brown, for the Archives of American Art, at the Celmins' home and studio, in New York, New York.
Celmins speaks of her family's Latvian roots; experiencing World War II as a child; surviving and overcoming the trauma of World War II; the difficulties of being a refugee and moving to the United States; the influence of books on her imagination and art; expressing herself through drawing after moving to Indiana; learning English; studying art at the John Herron School of Art; attending summer school at Yale University; moving to California to obtain her MFA at UCLA; using art to grapple with and understand both her past and her emotions; experimenting with various mediums; discovering the pencil as an art material; the difficulties of printmaking; experimenting with abstraction and Pop art; deciding to drop painting and collage work; finding her own artistic philosophy and practices; her love of nature and its impact on her work; not conforming to the male-dominated, L.A. art scene; her decision to leave L.A. for NYC. Celmins also speaks about Tony Berlant, Chas Garabedian, Ed Ruscha, David Stuart, Philip Guston, Chuck Close, Willem de Kooning, Brice Marden, Joan Mitchell, Robert Irwin, and Jasper Johns.
Biographical / Historical:
Vija Celmins (1938- ) is a multimedia artist in New York, New York. Julia Brown (1951- ) is an independent scholar in San Antonio, Texas.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 33 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- New York (State) -- New York Search this
Multimedia artists -- New York (State) -- New York Search this
A career resume and brief autobiographical sketch; photographs of Midgette; Midgette's models, and studio; sketches; slides; published and unpublished articles, poems, and reviews; 15 typescripts of lectures, 1966-1978; personal notes on art, ca. 1973-1978; seven photographs of Midgette's work; a 24-page essay about the style of the Parthenon; exhibition catalogs; clippings; and miscellany.
Biographical / Historical:
Painter and printmaker, Brooklyn, N.Y. Born Baltimore, Md. Studied at Skowhegan School of Painting and Sculpture, Harvard College, Boston University School of Fine Arts, Pratt Graphic Art Center, Indiana University.
Provenance:
Donated by Sarah Midgette, Midgette's wife.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- Brooklyn Search this
Printmakers -- New York (State) -- New York -- Brooklyn Search this
