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Beulah E. Stevenson papers

Creator:
Stevenson, Beulah E. (Beulah Eisle), 1879-1965  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1925-1966
Summary:
The scattered papers of painter and printmaker Beulah Stevenson measure 0.2 linear feet and date from 1925 to 1966. Found are biographical materials, correspondence, photographs, printed material, and two mixed media scrapbooks.
Scope and Contents:
The scattered papers of painter and printmaker Beulah Stevenson measure 0.2 linear feet and date from 1925 to 1966. Found are biographical materials, correspondence, photographs, printed material, and two mixed media scrapbooks.
Biographical / Historical:
Beulah E. Stevenson (1875-1965) was a painter and printmaker from Brookly, New York. She studied at the Art Students League, was a curator at the Brooklyn Museum, and was an active and prominent member of many local New York and national arts organizations, including the New York Society of Women Artists, the National Society of Women Artists, and the American Artists Congress. Stevenson's work was exhibited widely in the United States and internationally throughout her career.
Provenance:
Dorothy Paris donated the papers of Beulah Stevenson to the Archives of American Art in 1970. According to friend Miriam Eaton, Stevenson discarded most of her papers shortly before her death.
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:
Painters -- New York (State) -- Brooklyn  Search this
Printmakers -- New York (State) -- Brooklyn  Search this
Topic:
Women artists  Search this
Women painters  Search this
Scrapbooks  Search this
Citation:
Beulah Stevenson papers, 1925-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stevbeul
See more items in:
Beulah E. Stevenson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d8b09d26-31ce-48f2-9798-c0ac806f70c9
EDAN-URL:
ead_collection:sova-aaa-stevbeul

The Zorach family papers, 1900-1987

Creator:
Zorach family  Search this
Subject:
Zorach, Tessim  Search this
Ipcar, Dahlov  Search this
Cunningham, Imogen  Search this
Adams, Ansel  Search this
Zorach, Marguerite  Search this
Zorach, William  Search this
Partridge, Roi  Search this
Newman, Arnold  Search this
Brooklyn Museum  Search this
Art Students League (New York, N.Y.)  Search this
Type:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Artist couples  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Diaries  Search this
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6932
(DSI-AAA_SIRISBib)209061
AAA_collcode_zorazora
Theme:
Diaries
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209061
Online Media:

The Zorach family papers

Creator:
Zorach Family  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976  Search this
Ipcar, Dahlov, 1917-2017  Search this
Newman, Arnold, 1918-2006  Search this
Partridge, Roi, 1888-1984  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, Tessim  Search this
Zorach, William, 1887-1966  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Date:
1900-1987
Summary:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Weavers  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Artist couples  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zorazora
See more items in:
The Zorach family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99b759247-30c2-4d06-9c75-1c7b0054f5d5
EDAN-URL:
ead_collection:sova-aaa-zorazora

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 George McNeil

Interviewee:
McNeil, George, 1908-1995  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
American Abstract Artists  Search this
Art Students League (New York, N.Y.) -- Students  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Pratt Institute. Art School -- Students  Search this
United States. Work Projects Administration  Search this
Cavallon, Giorgio, 1904-1989  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Diller, Burgoyne, 1906-1965  Search this
Dlugoszewski, Lucia, 1931-2000  Search this
Gorky, Arshile, 1904-1948  Search this
Hofmann, Hans, 1880-1966  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
Kline, Franz, 1910-1962  Search this
Levy, Edgar  Search this
Manso, Leo  Search this
Matulka, Jan, 1890-1972  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Smith, David, 1906-1965  Search this
Tworkov, Jack  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Extent:
18 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 June 3
Scope and Contents:
An interview of George McNeil conducted by Dorothy Seckler for the Archives of American Art. McNeil speaks of his childhood and his family; becoming interested in art during high school; attending Pratt Institute, and not being satisfied there; deciding to drop out of Pratt after attending a lecture from Vaclav Vytlacil; going to the Metropolitan Museum every day drawing and analyzing paintings; meeting Arshile Gorky while at the Metropolitan Museum; attending the Art Students League; studying with Hans Hofmann; the start of the American Abstract Artists; his involvement in the WPA's mural project; attending Teachers College at Columbia before joining the Navy; re-entering the New York art scene during the forties and liking it very much; meeting and being influenced by Pollock; his views on the state of painting; how his work has evolved; the various stages in the way a painting developed for him; how The Club and the Eighth Street Club has influenced him; the ideas discussed at The Club, and how he feels surrealism was not a big influence on them; Jackson Pollock's influence on abstract expressionism; artists he admires or has admired; and his thoughts on the contemporary art scene. He recalls Vaclav Vytlacil, Arshile Gorky, Jan Matulka, David Smith, Dorothy Dehner, Edgar Levy, Leo Manso, Burgoyne Diller, Irene Rice Pereira, Hans Hofmann, Jo Hopper, Giorgio Cavallon, Linda Lindaberg (Cavallon), Mercedes Kahls, George Byron Brown, Albert Swinden, Willem de Kooning, Jackson Pollack, Franz Kline, Jack Tworkov, Ad Reinhardt, Mark Rothko, and many others.
Biographical / Historical:
George McNeil (1908-1995) was a painter and a printmaker in Brooklyn, N.Y.
General:
Originally recorded on 2 sound tapes. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 49 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.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Art, American  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Painting  Search this
Surrealism  Search this
Mural painting and decoration  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.mcneil65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b6fc63b-c3c0-47b0-b1df-174fd019ac4e
EDAN-URL:
ead_collection:sova-aaa-mcneil65
Online Media:

Ben Shahn papers

Creator:
Shahn, Ben, 1898-1969  Search this
Names:
Baskin, Leonard, 1922-2000  Search this
Delano, Jack  Search this
Evans, Walker, 1903-1975  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Rivera, Diego, 1886-1957  Search this
Robbins, Jerome  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
25.1 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Sketchbooks
Video recordings
Drawings
Sound recordings
Interviews
Date:
1879-1990
bulk 1933-1970
Summary:
The papers of social realist painter, photographer, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.
Scope and Contents note:
The papers of social realist painter, photographer, illustrator, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Biographical material and family records include a 1924 passport for Shahn and his first wife, Tillie, biographical sketches of Shahn, and award certificates received by him.

Letters are primarily written to Shahn from family members, artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Notable correspondents include Leonard Baskin, Alexander Calder, Dorothea Lange, Walker Evans, Joseph Hirsch, Leo Lionni, John Bartlow Martin, George and Marian Nakashima, Clifford Odets, Charles Olson, Robert Osborn, Diego Rivera, Jerome Robbins, Selden Rodman, James Thrall Soby, Raphael Soyer, and William Carlos Williams. A small number of scattered letters from Shahn can also be found throughout the series.

Project files document approximately twenty-one of Shahn's commissions, including murals for the community center at Jersey Homesteads, the Bronx Central Annex Post Office, the Social Security Building in Washington D.C. , and the William E. Grady Vocational High School. The files also document his involvement in the Franklin Delano Roosevelt Memorial in Roosevelt, in addition to projects for schools, temples and private homes.

Financial and legal records include consignment records, loan agreements, royalty statements and receipts for artwork sold.

Notes and writings are by Shahn and others including Alan Dugan, W. H. Ferry, Theodore Gusten, and John Bartlow Martin. They include lists of artwork, many of which are annotated.

Artwork includes a sketchbook and several unbound sketches and lettering by Shahn, in addition to drawings and prints by others including Shahn's children, Mario Casetta and Stefan Martin.

Source files contain printed material and photographs relating to topics depicted by Shahn in his artwork such as children, dams, farming, houses, industry, mines and miners, slums, war and workers. These files also contain scattered photographic prints by FSA and OWI photographers including Shahn, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Marion Post Wolcott, Arthur Rothstein, and John Vachon.

Printed material includes news clippings covering Shahn and his career as well as subjects of interest to Shahn. Also found are exhibition catalogs and announcements for exhibitions for Shahn and others, and reproductions of Shahn's artwork including publications illustrated by him.

Photographs are of Shahn, his family and friends and colleagues including Alexander Calder, Jerome Robbins, Charles Sheeler, David Smith and William Zorach. Also included are photographs taken by Shahn of New York City and for the FSA in the 1930s, as well as photographs of artwork by Shahn. Photographs by others include one photo each by Walker Evans, Dorothea Lange, Russell Lee and Arthur Rothstein.

The collection also contains transcripts of eight radio, television and motion picture interviews of Shahn and a reel of 16mm motion picture film from the BBC-TV program "Monitor," in addition to sound recordings of interviews of Shahn by Tony Schwartz and Arlene Francis. Artifacts include a Christmas greeting in the form of a sock.
Arrangement note:
The collection is arranged as 12 series:

Missing Title

Series 1: Biographical and Family Records, 1879-1984 (Box 1, OV 36; 0.2 linear ft.)

Series 2: Letters, 1929-1990 (Boxes 1-25, 35, 43, OVs 36-38; 14.5 linear ft.)

Series 3: Project Files, 1933-1975 (Boxes 25-26; OVs 36-37; 1.03 linear ft.)

Series 4: Financial and Legal Records, 1934-1988 (Boxes 26-27, 35; 0.81 linear ft.)

Series 5: Notes and Writings, circa 1933-1988 (Boxes 27-28, 43; 1.72 linear ft.)

Series 6: Artwork, circa 1930s-1965 (Boxes 28, 35; 11 folders)

Series 7: Source Files, circa 1900s-1960s (Boxes 28-30, 35; 1.81 linear ft.)

Series 8: Printed Material, 1912-1988 (Boxes 30-33, 35, OV 39; 3.22 linear ft.)

Series 9: Photographs, circa 1900-1969 (Boxes 33-35; 0.86 linear ft.)

Series 10: Interview Transcripts, 1943-1968 (Box 34; 0.25 linear ft.)

Series 11: Audio and Video Recordings, 1959-1968 (Box 34; 0.25 linear ft.)

Series 12: Artifacts, circa 1930s-circa 1960s (Box 34; 2 items)
Biographical/Historical note:
Ben Shahn (1898-1969) was a social realist painter, muralist, printmaker, photographer, illustrator, and educator who worked primarily in Brooklyn, New York and New Jersey. He was most active in the 1930s through the 1950s and worked on several federally funded arts projects, including the Farm Security Administration's photographic documentation project of rural America during the Depression.

Ben Shahn was born in Kovno, Lithuania and immigrated with his family to the United States in 1906 where he settled in Brooklyn, and later Roosevelt, New Jersey, after becoming a naturalized citizen in 1918.

Following an apprenticeship as a lithographer from 1913-1917, Shahn studied at New York University, the City College of New York, and the National Academy of Design from 1919-1922. He married Tillie Goldstein in 1922 and they had two children, Judith and Ezra.

Two years after Shahn's first solo exhibition at the Downtown Gallery in 1930, his Passion of Sacco and Vanzetti, a series of 23 gouaches about the Sacco and Vanzetti trial of the 1920s, was exhibited at the Downtown Gallery to critical and public acclaim. The exhibition marked the beginning of Shahn's reputation as one of the most important social realist painters in America. Shahn's commitment to social and political justice found a natural outlet in mural painting when, in 1933, he was hired to assist Diego Rivera on the labor and industry mural Man at the Crossroads, for New York City's Rockefeller Center. The mural was destroyed amid controversy in 1933 before it was completed, but Shahn had learned much about the art of fresco painting during the project and was inspired by the potential of the mural as a unique art form for presenting life's struggles and stories to a large public audience. Between 1933 and 1937 Shahn worked on various murals for other buildings, including New York's Central Park Casino (circa 1934) and Riker's Island Prison (1934), none of which saw completion. In 1937, however, the Farm Security Administration (FSA) commissioned Shahn to execute a mural for the Community Center in the town of Jersey Homesteads, later Roosevelt, New Jersey, which Shahn completed in 1938. Shahn settled in Jersey Homesteads the following year and remained there for the rest of his life. Other important mural commissions followed for the Bronx Central Post office (1939) and the Social Security Building in Washington DC (1942).

One of Shahn's assistants on the Jersey Homesteads mural was Bernarda Bryson, whom he had met in 1933 when she came to New York to interview Rivera about the Rockefeller Center mural controversy for an Ohio newspaper. Shahn and Bryson became lifetime companions and had three children, Susanna, Jonathan and Abigail, although they did not marry until shortly before Shahn's death in 1969. Shahn and Tillie Goldstein were divorced in 1944.

Shahn had enrolled with the federal Public Works of Art Project in 1934, and between 1935 and 1938 he and Bryson travelled across country as Shahn photographed poverty-stricken areas and documented rural life for the Farm Security Administration (FSA) and the Resettlement Agency. Shahn's interest in photography developed in the early 1930s when, encouraged by his friendship with Walker Evans, he began photographing street scenes and people in New York City. He later used the images as the basis for many of his prints and paintings.

In 1942 Shahn began working for the Office of War Information (OWI) and was instructed to produce posters and pamphlets explaining to citizens the necessities of wartime, such as the need for secrecy and food rationing. Ultimately, only two of Shahn's posters were ever used; the rest were rejected as being too harsh for their intended audience. Shahn later worked for the Congress of Industrial Organization Political Action Committee (CIO-PAC), producing posters for the 1944 campaign to re-elect Roosevelt, who he believed in deeply. He was promoted to director of the CIO's Graphic Arts Division for the 1946 congressional campaign following Roosevelt's death, but that job ended when the election went poorly for the Democratic party.

Shahn returned increasingly to painting and a retrospective of his work was held at the Museum of Modern Art in 1947. He also became more active in academia as an accomplished writer, teacher and lecturer. He received honorary doctorates from Princeton University and Harvard University, and become the Charles Eliot Norton professor at Harvard in 1956. Shahn's Norton lectures were collected and published as the influential The Shape of Content in 1957. He also began to work as a commercial artist for a variety of companies and publications including CBS, Time, Harper's, and the Container Corporation of America. Shahn believed, however, that the artist's ideas and integrity must always be reflected in his commercial art. He refused to compromise on this point and was very selective in his choice of commercial commissions. Shahn illustrated many books and articles, designed sets for stage productions such as New York Export: Opus Jazz, choreographed by Jerome Robbins, and designed mural mosaics for synagogues, universities and private homes.

Since the 1930s Shahn had been represented by Edith Halpert at the Downtown Gallery, but his relationship with her was always contentious on the subject of payments Shahn received for commercial work, and became increasingly so as his income from such sources increased. Finally, in 1968, Shahn wrote to Halpert telling her that after ten years of "an accumulation of ill-feeling, discomfort and recrimination between us" he felt compelled to end their dealer-artist relationship.

By the time of Shahn's break with Halpert his health had begun to fail. He died of a heart attack following surgery in a New York City hospital on March 14, 1969.
Related Archival Materials note:
The Archives of American Art holds four oral history interviews with Ben Shahn: 1964 Apr. 14 interview conducted by Richard K. Doud for the Archives of American Art New Deal and the Arts Project in which Shahn speaks of his travels and work for the Farm Security Administration (FSA) and the American image as portrayed by FSA; 1965 Jan. 17 interview; 1965 Oct. 3. interview conducted by Harlan Phillips for the Archives of American Art New Deal and the Arts Project; and 1968 Sept. 27 interview conducted by Forrest Selvig. Most of these interviews have transcripts available online.

The Archives also holds the Bernarda Bryson Shahn papers, circa 1947-2005, and two oral history interviews with Bernarda Bryson Shahn: 1983 Apr. 29 and 1995 July 3.
Separated Materials note:
The Archives of American Art also holds material lent for microfilming (reel N70-6) including addresses and essays by Shahn, seven royalty statements, and three letters from publishers. Many of the writings found on this reel were included in subsequent donations. All other lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
The Ben Shahn papers were donated to the Archives of American Art in several installments between 1967-1991 by Shahn's widow, Bernarda Bryson Shahn who also lent materials for microfilming in 1969. Jean Shahn, Ben Shahn's daughter-in-law and estate representative, donated additional material in 2018 and 2021.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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 Jersey -- Roosevelt  Search this
Painters -- New York (State) -- Brooklyn  Search this
Photographers -- New York (State) -- Brooklyn  Search this
Photographers -- New Jersey -- Roosevelt  Search this
Printmakers -- New Jersey -- Roosevelt  Search this
Printmakers -- New York (State) -- Brooklyn  Search this
Educators -- New York (State) -- Brooklyn  Search this
Educators -- New Jersey -- Roosevelt  Search this
Muralists -- New York (State) -- Brooklyn  Search this
Muralists -- New Jersey -- Roosevelt  Search this
Topic:
Social realism  Search this
Genre/Form:
Motion pictures (visual works)
Sketchbooks
Video recordings
Drawings
Sound recordings
Interviews
Citation:
Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shahben
See more items in:
Ben Shahn papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw983b06d9b-dd51-45bc-9b11-09b06a88f6c6
EDAN-URL:
ead_collection:sova-aaa-shahben
Online Media:

Harry Sternberg papers

Creator:
Sternberg, Harry, 1904-2001  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Idyllwild School and Museum for the Arts -- Faculty  Search this
Blume, Peter, 1906-1992  Search this
Evergood, Philip, 1901-1973  Search this
Kent, Rockwell, 1882-1971  Search this
Secunda, Arthur  Search this
Siqueiros, David Alfaro  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Warner, Malcolm, 1953-  Search this
Wickey, Harry  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
3.4 Linear feet
0.553 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Date:
1927-2000
Summary:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.
Scope and Content Note:
The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.

Biographical material includes an interview of Sternberg conducted by art curator Malcolm Warner, two ledgers documenting business activities, scattered financial and legal documents, and files regarding a few of his projects, including the film "Many Worlds of Art". Sternberg's personal and professional correspondence is with friends, artists, including Harry Wickey, Rockwell Kent, Philip Evergood, and Peter Blume, collectors and curators such as Hudson Walker and Carl Zigrosser, and art organizations, universities, and galleries.

The small number of writings by Sternberg in this collection includes drafts of articles and lectures, a manuscript for a book on etching, and notes. Writings by others consists of draft writings about Sternberg, draft exhibition catalogs, and writings by the artists Arthur Secunda and David Alfaro Siqueiros. Over one-third of this collection is printed material, including exhibition catalogs and announcements, news clippings, books written by Sternberg, school publications, and material regarding art events.

Also found are photographs of Sternberg in his studio, with students, with his wife Mary, and at the Idyllwild School. Other photographs include group photographs of Art Students League faculty as well as photographs of exhibitions, murals, and artwork. The collection also contains original artwork including two sketchbooks and three loose drawings by Sternberg and one scrapbook of news clippings and exhibition materials. Audio and video materials include several interviews of Sternberg and a video copy of his film "Many Worlds of Art".
Arrangement:
The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1927-2000 (Box 1, OV 5; 0.3 linear feet)

Series 2: Correspondence, 1928-2000 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1940s-2000 (Box 1, 4; 0.2 linear feet)

Series 4: Printed Material, 1933-2000 (Box 1-3; 1.2 linear feet)

Series 5: Photographs, circa 1930s-1998 (Box 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1928-1980s (Box 3, OV 5; 0.2 linear feet)

Series 7: Audio Visual Material, circa 1980s-2000 (Box 3; 0.5 linear feet, ER01; 0.553 GB)

Series 8: Scrapbook, 1929-1958 (Box 4; 0.2 linear feet)
Biographical Note:
Harry Sternberg (1904-2001) was a New York painter, muralist, printmaker, etcher, teacher, and political activist who relocated to California in 1957.

Harry Sternberg was born in 1904 in the Lower East Side of New York City and grew up in Brooklyn. As a child he attended his school art club where he met and became lifelong friends with artists Peter Blume and Philip Reisman. He took free Saturday art classes at the Brooklyn Museum of Art for two years and attended the Art Students League part time from 1922 to 1927 where he studied with George Bridgman. In 1926 he shared a studio with Philip Reisman where they received private instruction in etching from Harry Wickey. Sternberg began exhibiting his etchings and intermittently had drawings published in New Masses, a prominent American Marxist publication. In the late 1920s he became friends with Hudson Walker who also became a major collector of his work. In 1933 Sternberg was hired as instructor of etching, lithography, and composition at the Art Students League and continued teaching there for the next 33 years. Also around this time he became politically active in artist rights organizations, serving on the planning committee to create the American Artists' Congress and later serving as an active member of the Artists Equity Association. In 1935 he became the technical advisor of the Graphic Art Division of the Federal Art Project. From 1937 to 1939 he completed three federal mural commissions. His first mural Carrying the Mail was created for the Sellersville, Pennsylvania post office in 1937. His most famous mural Chicago: Epoch of a Great City was painted for the Lakeview post office in Chicago. It depicts the history of the city and its workers, particularly life for the workers in Chicago's stockyards and steel mills.

During the 1940s Sternberg remained very active in arts organizations, as one of the founders of the National Serigraph Society and a member of the Committee on Art and Education in Society. In 1942 he published the first of five books on printing. Sternberg had his first retrospective in 1953 at ACA Galleries, and in 1957 he taught summer painting courses at the Idyllwild School of Music and the Arts in California. He continued teaching in the summers there from 1960 to 1967 and 1981 to 1989. Suffering from lung disease, Sternberg moved with his wife, Mary, to Escondido, California in 1966 in hopes that the climate would improve his health. In 1972 he was elected to the American Academy and Institute of Arts and Letters. During the 1970s and 1980s Sternberg traveled extensively throughout the US and Mexico where he found new inspiration for his artwork. He continued teaching, exhibiting, and creating new work until his death in 2001.
Related Material:
Also found in the Archives of American Art are the May Konheim papers concerning Harry Sternberg, 1934-1981, and an oral history interview of Harry Sternberg, conducted March 19, 1999, October 8, 1999, and January 7, 2000, by Sally Yard for the Archives of American Art
Provenance:
The Harry Sternberg papers were donated by Sternberg in several installments from 1967 to 2001.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California  Search this
Topic:
Printmakers -- California  Search this
Printmakers -- New York (State) -- New York  Search this
Educators -- California  Search this
Painting, American  Search this
Educators -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Video recordings
Notes
Manuscripts
Interviews
Scrapbooks
Drafts (documents)
Sound recordings
Photographs
Sketchbooks
Drawings
Citation:
Harry Sternberg papers, 1927-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sterharr
See more items in:
Harry Sternberg papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw904413d6d-fce2-4bc8-9eef-9641dce75f12
EDAN-URL:
ead_collection:sova-aaa-sterharr

Oral history interview with Federico Castellon

Interviewee:
Castellón, Federico, 1914-1971  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Associated American Artists  Search this
Columbia University -- Faculty  Search this
Weyhe Gallery  Search this
Ames, Elizabeth  Search this
Cole, Sylvan  Search this
Dintenfass, Terry, 1920-  Search this
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Lewenthal, Reeves, 1909-1987  Search this
Rivera, Diego, 1886-1957  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
104 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 April 7-14
Scope and Contents:
An interview of Federico Castellon conducted 1971 April 7-14, by Paul Cummings, for the Archives of American Art. Castellon speaks of his childhood; his early interest in art; contact with Diego Rivera and the Weyhe Gallery in 1933; studying in Madrid and Paris; his involvement with the Spanish military; teaching at Columbia; traveling in Italy and in the Southwestern U.S.; making his first prints; his involvement with the Associated American Artists Gallery; printmaking methods and techniques; his publications; subject matter and surrealism in his work; his working routine; one-man exhibitions; collecting prints; other printmakers; aesthetics. He recalls Diego Rivera, Carl Zigrosser, Elizabeth Ames, Reeves Lowenthal, Sylvan Cole, Terry Dintenfass, Lawrence Fleischman, the Weyhe Gallery, and the Associated American Artists Gallery.
Biographical / Historical:
Federico Castellon (1914-1971) was a printmaker and painter from Brooklyn, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 16 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.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Prints -- Technique  Search this
Painters -- New York (State) -- Interviews  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Hispanic American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.castel71
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94b83a26b-2cff-409d-83de-1b3f05db7c4c
EDAN-URL:
ead_collection:sova-aaa-castel71
Online Media:

Stuyvesant Van Veen papers

Creator:
Van Veen, Stuyvesant  Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
United States Information Agency  Search this
Avery, Frances  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
circa 1926-1988
Scope and Contents:
Biographical material, correspondence, photographs, works of art, writings, project files, a scrapbook, and printed material relating to painter, illustrator, and cartoonist, Stuyvesant Van Veen.
Biographical information includes resumes, curriculum vitae, artist statements and profiles, membership cards, certificates, and awards. Correspondence is both professional and personal, and is with art galleries, artists and the U.S. Information Agency about exhibition exchanges with the U.S.S.R. Photographs are of Van Veen, his works of art, and works of art by Frances Avery. Artwork (portions filmed on microfilm reel 2026) includes numerous sketchbooks and sketches of artists, writers, musicians, scientists, and celebrities, caricatures and finished works by Van Veen, cartoons, illustrations, posters, Christmas cards, and book jackets. Writings include diaries,1928-1955, recording Van Veen's daily activities and notes and fragments of writings by Van Veen, including "My diary in sketches for 1942" with seven entries for January 1942.
Project files include the 1939 New York World's Fair mural for Hall of Pharmacy, the mural series Memorial to Brooklyn Dodgers at Ebbets Field Apartment Houses, New York, 1963, and the New York City public school murals at PS 8, The Bronx, New York. A scrapbook contains letters, photographs, and clippings. Printed material includes 72 photographic postcards featuring murals and sculptures of the 1939 World's Fair, catalogs, exhibition announcements, clippings, and off-prints. Also included are four comic books which contain illustrations by Van Veen under the pseudonymns Joe Lozen, Jack Camden, and Lester Raye.
Biographical / Historical:
Stuyvesant Van Veen (1910-1988) was a painter, illustrator, cartoonist, and printmaker in New York, New York. Van Veen was the illustrator for "The Fairy Fleet"; literary satires, Nation and New Masses magazine, and a WPA muralist.
Related Materials:
Also in the Archives are papers that were lent for microfilming on reels 621, 922-924 that include biographical information, correspondence, sketchbooks, photographs, a scrapbook, 1927-1941, designs for book jacket, exhibition catalogs and announcements, magazine articles and comic strips, press clippings, 1926-1966, miscellaneous, and sketches (some may be completed works).
Provenance:
Donated 1964 through 1986 by Van Veen and in 2010 by the New York Artists Equity Association via Regina Stewart, who found the material in Van Veen's apartment after his death. Among the donation are papers Van Veen lent for microfilming in 1969 and 1973. "My diary in sketches for 1942" donated 2016 by art historian Christine I. Oaklander who purchased the material at auction.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Cartoonists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Caricatures and cartoons  Search this
Graphic arts -- New York (State) -- New York  Search this
Mural painting and decoration -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Identifier:
AAA.vanveen
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ecfb460f-bfe2-4b41-8e40-901782bc5ceb
EDAN-URL:
ead_collection:sova-aaa-vanveen

Nell Choate Jones papers

Creator:
Jones, Nell Choate, 1879-1981  Search this
Names:
National Association of Women Artists (U.S.)  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1893-1977
Summary:
The papers of painter Nell Choate Jones measure 0.5 linear feet and date from 1893 to 1977. Found are artworks, biographical material, correspondence, exhibition lists of the National Association of Women Artists, photographs of works of art, printed material, and two mixed-media scrapbooks, one of which is a fragment.
Scope and Contents:
The papers of painter Nell Choate Jones measure 0.5 linear feet and date from 1893 to 1977. Found are artworks, biographical material, correspondence, exhibition lists of the National Association of Women Artists, photographs of works of art, printed material, and two mixed-media scrapbooks, one of which is a fragment.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Nell Choate Jones (1879–1981) was a painter and printmaker in Brooklyn, New York. She served as president of the Brooklyn Society of Artists and the National Association of Women Artists.
Provenance:
Nell Choate Jones donated her papers to the Archives of American Art in 1972.
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:
Painters -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Genre/Form:
Scrapbooks
Citation:
Nell Choate Jones papers, 1893-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jonenell
See more items in:
Nell Choate Jones papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96b9d0bf0-829f-489e-8fca-698a2f222409
EDAN-URL:
ead_collection:sova-aaa-jonenell

Michael Ponce de Leon papers

Creator:
Ponce de Leon, Michael, b. 1922  Search this
Names:
Canaday, John, 1907-1985  Search this
Davis, Elmer Holmes, 1890-1958  Search this
Quirarte, Jacinto, 1931-2012  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1952-1979
Summary:
The papers of Michael Ponce de Leon measure 0.3 linear feet and date from 1952 to 1979. The papers document his career as an artist through two letters, one being a congratulatory letter from David Goddard upon receiving a Guggenheim award, 1967; photos and slides of Ponce de Leon's work, a slide of him in a workshop, and photos showing his metal collage intaglio printing technique; exhibition catalogs and announcements, reprints, clippings, miscellaneous notes, three cartoon drawings, and an intaglio, "There's a Time."
Scope and Contents:
The papers of Michael Ponce de Leon measure 0.3 linear feet and date from 1952 to 1979. The papers document his career as an artist through two letters, one being a congratulatory letter from David Goddard upon receiving a Guggenheim award, 1967; photos and slides of Ponce de Leon's work, a slide of him in a workshop, and photos showing his metal collage intaglio printing technique; exhibition catalogs and announcements, reprints, clippings, miscellaneous notes, three cartoon drawings, and an intaglio, "There's a Time."
Arrangement:
The collection is arranged into one series.

Series 1: Michael Ponce de Leon papers 1952-1979 (0.3 linear feet; Box 1, OV 2)
Biographical / Historical:
Michael Ponce de Leon (1922-2006) was a an artist, printmaker, and cartoonist based in New York, N.Y. Ponce de Leon was born in Miami, but he grew up and attended school in Mexico City. He served in the United States military during World War II, and he settled in New York after the war where he studied at the Art Students League of New York, the National Academy of Design, and the School of the Brooklyn Museum. Between 1953 and 1980 Ponce de Leon taught at various colleges and universities including the Art Students League, Columbia University, Cooper Union, Hunter College, New York University, Pratt Institute, the Pratt Graphic Art Center, and Vassar College. Ponce de Leon died in Mexico in 2006.
Provenance:
Material on reels N69-127 & N70-14 lent for microfilming 1969 and unmicrofilmed material donated 1977-1979 by Michael Ponce de Leon.
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:
Cartoonists -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Topic:
Prints -- Technique -- 20th century  Search this
War in art  Search this
Latino and Latin American artists  Search this
World War, 1939-1945  Search this
Genre/Form:
Sketchbooks
Citation:
Michael Ponce de Leon papers, 1952-1979. Archives of American Art, Smithsonian Insitution.
Identifier:
AAA.poncmich
See more items in:
Michael Ponce de Leon papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw958671413-da2a-4537-8d3f-90e9f46ecffe
EDAN-URL:
ead_collection:sova-aaa-poncmich

Raphael Soyer papers

Creator:
Soyer, Raphael, 1899-1987  Search this
Names:
Ahlas, Lambro  Search this
Baranik, Rudolf  Search this
Biddle, George, 1885-1973  Search this
Bratby, John, 1928-  Search this
Burliuk, David, 1882-1967  Search this
De Francia, Peter  Search this
Goodrich, Lloyd, 1897-1987  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirshhorn, Joseph H.  Search this
Hopper, Edward, 1882-1967  Search this
Lasker, Joe  Search this
Poor, Henry Varnum, 1887-1970  Search this
Singer, Isaac Bashevis, 1904-  Search this
Extent:
3.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Writings
Photographs
Sketchbooks
Date:
1933-1989
Summary:
The papers of realist painter Raphael Soyer date from 1933 to 1989 and measure 3.9 linear feet. They document Soyer's career as a painter, printmaker, and writer. Found within the papers are scattered biographical materials, including several transcripts of interviews with Soyer; extensive personal and professional correspondence; writings and notes by Soyer and others; scattered legal and financial records; exhibition materials, clippings and other printed material; and photographs of Soyer in his studio, with artists and friends, and at art events. Also found are one sketch and a facsimile of Soyer's 1968 sketchbook produced by Forum Gallery.
Scope and Content Note:
The papers of realist painter Raphael Soyer date from 1933 to 1989 and measure 3.9 linear feet. They document Soyer's career as a painter, printmaker, and writer. Found within the papers are scattered biographical materials, including several transcripts of interviews with Soyer; extensive personal and professional correspondence; writings and notes by Soyer and others; scattered legal and financial records; exhibition materials, clippings and other printed material; and photographs of Soyer in his studio, with artists and friends, and at art events. Also found are one sketch and a facsimile of Soyer's 1968 sketchbook produced by Forum Gallery.

Biographical materials include award certificates, including a 1975 certificate from the National Academy of Design, lists of artwork by Soyer, and several transcripts of interviews with Raphael Soyer in which he discusses topics such as his career as an artist, artists in New York City, and the inspiration for his artwork.

Personal and professional correspondence is with numerous artists, writers, art historians, curators, gallery owners, arts organizations, museums, and universities. Correspondents include Lambro Ahlas, Rudolf Baranik, George Biddle, John Bratby, David Burliuk, Peter De Francia, Lloyd Goodrich, Joseph Hirsch, Joseph Hirshhorn, Edward Hopper, Joe Lasker, Henry Varnum Poor, Isaac Bashevis Singer, and many others. Additional correspondence is addressed to Reality magazine, for which Soyer was an editor.

Writings and notes by Soyer include several drafts and notes for his four published books A Painter's Pilgrimage (1962), Homage to Thomas Eakins (1966), Self-Revealment: a Memoir (1969), and Diary of an Artist (1977). Also by Soyer are draft essays, lectures, and articles - many about social realism. Writings by others include essays and articles by artists and art scholars sent to Soyer for review.

Scattered legal and financial records include bank statements, receipts, leases, and documents related to the publishing of his books. Printed material consists of exhibition catalogs and announcements, clippings, and other published items.

Photographs depict Soyer in his studio, with other artists and friends such as Chaim Gross, Edward Hopper, and Jose De Creeft, and at art events, and include a few photographs of his artwork. Also found are one pencil sketch and a facsimile of Soyer's 1968 sketchbook produced by Forum Gallery.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1939-1986 (Box 1, OV 6; 12 folders)

Series 2: Correspondence, 1940-1988 (Box 1-2; 1.0 linear foot)

Series 3: Writings & Notes, circa 1946-1987 (Box 2-3; 1.5 linear feet)

Series 4: Legal & Financial Records, 1959-1988 (Box 3; 0.2 linear feet)

Series 5: Printed Material, 1933-1989 (Box 3-4; 0.3 linear feet)

Series 6: Photographs, circa 1953-1987 (Box 5, OV 6; 0.5 linear feet)

Series 7: Artwork, 1968, undated (Box 5; 2 folders)
Biographical Note:
Raphael Soyer (1899-1987) and his twin brother Moses (1899-1974) were born on December 25, 1899, in the Russian town Borisoglebsk. Their father Abraham was a scholar and Hebrew teacher who encouraged all of his children to sketch and paint. After the family was deported from Russia, they settled in the Bronx, New York, in 1912. Raphael and Moses briefly attended school, but at 16 they began working various jobs to help support their family. They also began taking free art classes at Cooper Union and later Raphael attended the National Academy of Design and the Art Students League where he studied with Guy Pene du Bois. He began to show his paintings in 1926 and in 1929 gallery owner Charles Daniel gave him his first one man show. Soyer became one of the leading realist painters and printmakers, often depicting Depression-era transients, Manhattan streetscapes, shoppers, and women at work. He also painted and sketched numerous self-portraits and portraits of fellow artists and cultural figures, many of whom were also his friends, including Allen Ginsberg, Chaim Gross, Edward Hopper, and Arshile Gorky.

Beginning in the 1930s Soyer showed his work frequently at the Whitney Museum of American Art, Associated American Artists Galleries, National Collection of Fine Arts, and other national and international exhibitions. During the 1940s and 1950s he was a leading advocate of realism and spoke out against the abstract style that was dominating the New York art scene. In 1953 he co-founded Reality magazine.

Soyer joined the Forum Gallery in New York in the early 1960s and became good friends with his dealer Bella Fishko. Also during the 1960s he published three books, A Painter's Pilgrimage (1962), Homage to Thomas Eakins (1966), and Self-Revealment: a Memoir (1969), and had his first retrospective at the Whitney Museum in 1967.

Throughout his career Soyer also occasionally taught at art schools including the Art Students League and the New School. He also collaborated with his friend, writer Isaac Bashevis Singer, by illustrating several of Singer's books. Soyer and his wife Rebecca, whom he married in 1931, lived the rest of their lives in New York City, but often traveled to Europe. They had one daughter, Mary. Soyer's final book, Diary of an Artist, was published in 1977 and in 1979 he received the Gold Medal from the National Arts Club. He continued painting realist subjects until his death in 1987.
Related Material:
Also found at the Archives of American Art are several collections related to Raphael Soyer: Esther Reier letter from Raphael Soyer, 1978 May 29; Raphael Soyer's Artist Statement from 1947; a Raphael Soyer lecture from 1960; the papers of his twin brother, Moses Soyer; Brooklyn Museum interviews of artists, circa 1965-1968 (includes an interview of Soyer); and the Karl E. Fortess taped interviews with artists, 1963-1985, which also includes an interview with Raphael Soyer. The Archives of American Art's Oral History collection has an interview of Raphael Soyer dated May 13-June 1, 1981 conducted by Milton Brown.

Additional Raphael Soyer papers, 1949-1954, are available at Cornell University.
Separated Material:
The Archives of American Art also holds material lent for microfilming (N68-1) including a small amount of correspondence and three sketchbooks. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Raphael Soyer donated portions of the collection between 1961 and 1980. He also loaned materials for microfilming in 1968. His widow, Rebecca, and his grandson, Joseph Leiber, on behalf of the entire Soyer family, donated additional materials in 1991 and 1993.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Printmakers -- New York (State) -- New York  Search this
Social realism  Search this
Realism  Search this
Painting, American  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Writings
Photographs
Sketchbooks
Citation:
Raphael Soyer papers, 1933-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soyeraph
See more items in:
Raphael Soyer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96469b32a-ef8d-447d-b47e-533ea348dfaa
EDAN-URL:
ead_collection:sova-aaa-soyeraph
Online Media:

Oral history interview with Emma Amos

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

Amy Jones papers

Creator:
Jones, Amy, 1899-1992  Search this
Names:
United States. Dept. of the Treasury. Section of Fine Arts  Search this
Extent:
3.5 Linear feet
2.9 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Sound recordings
Video recordings
Interviews
Date:
circa 1930-2005
Summary:
The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and 2.90 GB and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, several recorded interviews and talks, correspondence, subject files, printed and digital material, photographs, artwork, and scrapbooks.
Scope and Contents:
The papers of painter, muralist, and educator Amy Jones measures 3.5 linear feet and 2.90 GB and date from 1910s-2015, with the bulk of the records dating between 1930s-1992. The papers document Jones' career through biographical material, some recorded interviews and talks, correspondence, subject files, printed and digital material, photographs, artwork, and scrapbooks.

Biographical materials include awards and certificates, audio and video recordings from interviews and talks, resumes, inventories of works, membership cards, and writings. Correspondence pertains to Jones' dealings with galleries, museums, collectors, and also includes Christmas cards illustrated by Jones. Subject files include records of the sale and exhibition of her artwork; custodial history of her archive; project files; and some papers relating to her work as an art educator. Printed materials include newspaper and magazine clippings, exhibition announcements, catalogs, and posters, and publications that reproduced Jones' work. Photographs depict Jones as well as many of her watercolor landscapes, still lifes, and portraits. Artwork consists of loose sketches and drawings as well two sketchbooks. Scrapbooks contain correspondence, photographs, notes and sketches, contracts, expenses, and printed material documenting three of Jones' mural paintings between 1937-1941 as part of the U.S. Treasury Relief Art Project.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, circa 1950s-2015 (Box 1; .5 linear feet, ER01; 2.90 GB)

Series 2: Correspondence, 1943-2000 (Box 1; 8 folders)

Series 3: Subject Files, 1941-1993 (Box 1-2; .6 linear feet)

Series 4: Printed Material, 1930s-1992 (Box 2-3; 1 linear feet)

Series 5: Photographs, 1910s, 1930s-1980s (Box 3; 9 folders)

Series 6: Artwork, circa 1930s-1980s (Box 3; 9 folders)

Series 7: Scrapbooks, 1935-1943, 1980 (Box 3-5; .6 linear feet)
Biographical / Historical:
Amy Jones (Frisbie) (1899-1992) was a painter, printmaker, sculptor, and art educator in New York.

After attending Erasmus Hall High School in Brooklyn, New York, Jones studied under Xavier Gonzalez, Ben Wolf, and Anthony di Bona at the Pratt Institute. She left school early and moved to Buffalo, New York with her new husband, Blair Jones, and they had a daughter, Lucy. Jones continued to work on her art over the next few years designing Christmas cards and painting still lifes, portraits, and landscapes. Jones completed three murals between 1937-1941 for the U.S. Treasury Relief Art Project in Winsted, Connecticut; Painted Post, New York; and Scotia, New York. Jones established herself as a watercolorist in the U.S. and internationally by the 1940s. Her solo exhibitions include those held at Mount Holyoke College, Galleria Santo Stefano in Venice, Italy, a 10-year survey at New Britain Museum of American Art, and Katonah Gallery; and group exhibitions at National Gallery of Art, Corcoran Gallery, American Institute of Arts and Letters, and Albright-Knox Art Gallery. Her work may be found in the collections of the Ford Motor Company, Springfield College of Illinois, New Britain Museum of American Art, and the homes of many private collectors.
Provenance:
A portion of the collection was donated by Amy Jones in 1985, and the remainder was donated in 2015 by Lucy Jones Berk, Amy Jones' daughter.
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)  Search this
Muralists -- New York (State)  Search this
Printmakers -- New York (State)  Search this
Sculptors -- New York (State)  Search this
Educators -- New York (State)  Search this
Topic:
Federal aid to the arts  Search this
Women artists  Search this
Women painters  Search this
Women muralists  Search this
Women printmakers  Search this
Women sculptors  Search this
Women educators  Search this
Genre/Form:
Scrapbooks
Sound recordings
Video recordings
Interviews
Citation:
Amy Jones papers, 1910s-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.joneamy
See more items in:
Amy Jones papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95080e7e9-a352-45e2-b823-7d78b3cb5812
EDAN-URL:
ead_collection:sova-aaa-joneamy

Minna Wright Citron papers

Creator:
Citron, Minna Wright, 1896-1991  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1930-1980
Summary:
The papers of painter, printmaker and muralist Minna Wright Citron measure 1.3 linear feet and date from 1930 to 1980. Found are scattered biographical materials, correspondence, writings for articles and lectures, printed material, photographs, and artwork.
Scope and Contents:
The papers of painter, printmaker and muralist Minna Wright Citron measure 1.3 linear feet and date from 1930 to 1980. Found are scattered biographical materials, correspondence, writings for articles and lectures, printed material, photographs, and artwork.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Painter and printmaker Minna Wright Citron (1896-1991) was active in New York City, New York. She worked with the Works Progress Administration Federal Art Project as a teacher and completed multiple murals for Tennessee post offices.

Born in Newark, New Jersey, Minna Wright Citron began her study of art at the Brooklyn Institute of Arts and Sciences in 1924. She juggled the work of raising two small sons, a husband, and her art career and had her first solo exhibition in 1930 at New School for Social Research. In 1934, she divorced her husband Henry Citron and moved her children, Casper and Thomas, from Brooklyn to Manhattan.

Citron spent her early career as a painter, muralist, and educator. After World War II, she began to experiment with printmaking techniques and produced woodblock prints, etchings, and lithographs. She exhibited her works around the world, notably in Zagreb, Croatia (formerly Yugoslavia).

Minna Wright Citron died in 1991.
Related Materials:
Syracuse University also holds the Minna Citron papers, 1932-2014.
Provenance:
Minna Wright Citron donated her papers to the Archives of American Art in several installments from 1968 to 1981.
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:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women educators  Search this
Genre/Form:
Drawings
Citation:
Minna Wright Citron papers, 1930-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.citrminn
See more items in:
Minna Wright Citron papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bd74aec1-c362-40d5-83b3-9a9c122bef92
EDAN-URL:
ead_collection:sova-aaa-citrminn

Maryette Charlton papers

Creator:
Charlton, Maryette  Search this
Names:
American University of Beirut -- Faculty  Search this
Art Institute of Chicago -- Faculty  Search this
Chicago Public School Art Society  Search this
Container Corporation of America  Search this
University of Iowa, Museum of Art  Search this
Andres, Jo  Search this
Bishop, Elizabeth, 1911-1979  Search this
Cage, Xenia  Search this
Calder, Alexander, 1898-1976  Search this
Court, Paula  Search this
Elliott, Leone  Search this
Elliott, Owen  Search this
Fujitomi, Yasuo, 1928-  Search this
Habachy, Nimet  Search this
Hadzi, Dimitri, 1921-2006  Search this
Haskins, Sylvia Shaw Judson, 1897-  Search this
Hoff, Margo  Search this
Kiesler, Frederick  Search this
Kiesler, Lillian, 1910?-2001  Search this
Lubar, Cindy  Search this
MacIver, Loren, 1909-  Search this
Matisse, Pierre, 1900-1989  Search this
Miller, Dorothy Canning, 1904-2003  Search this
Nevelson, Louise, 1899-1988  Search this
Purdy, James  Search this
Reynal, Jeanne, 1903-  Search this
Smith, Kiki, 1954-  Search this
Takaezu, Toshiko  Search this
Tawney, Lenore  Search this
Von Brockdorff, Louise Medbery  Search this
Extent:
80.6 Linear feet
0.34 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Date:
circa 1890-2013
Summary:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and film recordings, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.
Scope and Contents:
The papers of filmmaker, photographer, painter, printmaker, teacher, and arts advocate Maryette Charlton measure 81 linear feet and 0.34 gigabytes and date from circa 1890 to 2013. This particularly rich collection includes biographical materials, correspondence, writings, 30 diaries, teaching files, professional and project files, major film project files, artist research files, exhibition files, printed material, scrapbooks, artwork, 22 sketchbooks, extensive photographic materials, numerous sound and video recordings, motion picture film, a digitized sound recording, and an unintegrated later addition to the papers containing additional biographical materials, journals, correspondence, subject files, printed materials, and scattered photographs.

Biographical materials consist of material on Maryette Charlton and her family. The subseries on Maryette Charlton includes a biographical chronology, passports, records of her marriage to Hall Winslow, information on studio spaces, school transcripts, and other material. Family files include genealogical charts and files of family members containing correspondence, writings, printed material, sound and video recordings, and photographs. The bulk of the family files are for Charlton's parents, Etna and Shannon, and her husband and son, Hall and Kirk Winslow.

Extensive correspondence is with family, friends, artists, and colleagues. Family correspondence is with her husband and son, parents, and extended family. Personal correspondence is with friends and colleagues, many of whom were famous artists. Named correspondence files and chonological correspondence files contain exchanges with Jo Andres, Elizabeth Bishop, Xenia Cage, Paula Court, Yasuo Fujitomi, Dimitri Hadzi, Margo Hoff, Sylvia Shaw Judson, Lillian Kiesler, Cindy Lubar, Loren MacIver, Pierre Matisse, Nimet (Saba Habachy), Henri Seyrig, Robert Wilson, and many others. There is also correspondence with colleges, museums, and universities.

Writings include academic papers and college class notes, titled essays, a notebook with sketches, and miscellaneous notes. Thirty diaries cover the period 1943 - 2001 and document a wide variety of topics, from film projects to travels to the art world in New York City. Some diaries are illustrated, including one illustrated by Alexander Calder at a party with Maryette, Ellsworth Kelly, and actress Delphine Seyrig. Journals from 1978-1979 tell of Charlton's experiences while appearing in films made by avant-garde director Richard Foreman. There is also one diary of Maryette's mother Etna Barr Charlton.

Teaching files document Charlton's career as an instructor at the Art Institute of Chicago and as the founder of and instructor at the American University of Beirut's art department. Files include appointment calendars, schedules, notes, lectures, news releases, printed material, and photographs.

Professional and project files consist of material related to Maryette Charlton's professional work at the University of Iowa Museum of Art, as a lecturer at the Chicago Public School Art Society, color analyst at the Container Corporation of America, executor of the estate of artist Louise Medbery von Brockdorff, fellowships, conferences, organizations, and the filming industry in general. There are files for the screening of Zen in Ryoko-In. The University of Iowa Museum of Art subseries consists of correspondence with fellow co-founders Leone and Owen Elliott, files on art donations, museum administration, annual reports, printed material, photographs, and sound and video recordings.

Artist research files consist of books, articles, and clippings collected by Charlton for research. Notable artists chronicled include Alexander Calder, James Purdy, Louise Nevelson, Kiki Smith, and Toshiko Takaezu.

Major film project files document Maryette Charlton's films about or with artists Frederick Kiesler (Trienniale, The Universal Theater and Kiesler on Kieseler), Lenore Tawney, Dorothy Miller, Loren MacIver, and Jeanne Reynal. The files for Frederick Kiesler also contain materials about his wife Lillian Kiesler, with whom Charlton had a long relationship and collaborated with on film projects. Individual film project files contain a wide variety of research and production documentation, including correspondence, writings, printed material, research files, exhibition catalogs, photographic materials, sound recordings of interviews and lectures, and Charlton's documentation about the creation and producation of each film, such as contracts, scripts, and distribution information. The film project files for Kiesler and Dorothy Miller are particularly rich, containing substantial amounts of primary source materials not found elsewhere. Sound and video recordings are found throughout the series, as well as 4 film reels.

Files documenting Maryette Charlton's group and solo exhibitions include catalogs and announcements, publicity, printed material, mailing lists, art inventory, sales lists, correspondence, and other material.

Printed materials include other exhibition catalogs, books, posters, magazines, and clippings. There are many books on color theory from Maryette Charlton's job as a color analyst and substanial printed material on Frederick Kiesler. Scrapbooks document Maryette Charlton's personal life from high school, college, and summer camp, as well as exhibitions of her own work, and miscellaneous subjects.

Artwork includes sketches and drawings by Maryette Charlton, some drawings by Lillian Kiesler and others, and mail art created by various artists. There are also 22 sketchbooks filled with pencil, ink, and crayon drawings and sketches, with occasional annotations.

Photographic materials include photographs, slides, negatives, and photograph albums. There are photographs of Maryette Charlton, her travels, family, friends, and artists. Photographs are also found throughout other series.

Sound and video recordings which could not be merged with other series were arranged in an audiovisual series. There are recordings of radio programs and performances Maryette Charlton attended or participated in as well as miscellaneous recordings of artists and events.

The 2014 addition to the Maryette Charlton papers consists of biographical materials, journals, correspondence, subject files, printed materials, and a small number of photographs.
Arrangement:
This collection is arranged as 16 series.

Missing Title

Series 1: Biographical Material, 1896-2005 (3.4 linear feet; Boxes 1-4, 80)

Series 2: Correspondence, 1930-2010 (23.3 linear feet; Boxes 4-27, 80)

Series 3: Writings, 1942-1999 (1 linear feet; Boxes 27-28)

Series 4: Diaries, 1943-2001 (2.1 linear feet; Boxes 28-30)

Series 5: Teaching Files, 1946-1997 (3.6 linear feet; Boxes 30-33, 80)

Series 6: Professional and Project Files, 1923-1998 (7.6 linear feet; Boxes 34-41, 81, OV 87)

Series 7: Artist Research Files, 1949-circa 2000 (1.8 linear feet; Boxes 41-43, FCs 88-89)

Series 8: Major Film Projects, 1904-2007 (18.8 linear feet, 0.34 GB; Boxes 43-61, 81-82, OV 87, FC 90-91, ER01)

Series 9: Exhibition Files, 1950-2000 (0.8 linear feet; Boxes 61-62)

Series 10: Printed Material, 1924-2000 (3.2 linear feet; Boxes 62-65, 82, OV 87)

Series 11: Scrapbooks, 1939-2010 (0.8 linear feet; Box 65, 82-83)

Series 12: Artwork, 1950-1998 (0.9 linear feet; Boxes 65-66, 84)

Series 13: Sketchbooks, 1949-1996 (0.5 linear feet; Box 66)

Series 14: Photographic Materials, circa 1890-circa 2010 (7.8 linear feet; Boxes 67-74, 84-86)

Series 15: Sound and Video Recordings, circa 1953-2008 (1.2 linear feet; Boxes 74-75, 86)

Series 16: Addition to Maryette Charlton papers, 1951-2013 (3.7 linear feet; Boxes 75-79, 86)
Biographical / Historical:
Maryette Charlton (1924-2013) was a painter, printmaker, photographer, filmmaker and arts advocate based in Chicago, Illinois, and New York, New York.

Maryette Charlton was born in Manchester, Iowa on May 18, 1924. Her parents were Shannon and Etna Charlton and she had 2 siblings. Charlton pursued her undergraduate studies at Monticello College and Northwestern University in Illinois, Antioch College in Ohio, and the University of Colorado before receiving a B.F.A. from Pratt Institute in Brooklyn, New York in 1947. She continued her studies in Chicago, Illinois with Laszlo Moholy-Nagy and Hugo Weber at the Institute of Design and Art Institute of Chicago. From 1948 to 1952, she was a Department of Education lecturer at the Art Institute of Chicago museum galleries and also gave talks at schools for the Chicago Public School Art Society.

Between 1942-1951, Maryette Charlton worked as a color analyst for the Container Corporation of America. In 1952, Charlton founded the Art Department of the American University of Beirut and taught there as an assistant professor until 1956. While in Beirut, Charlton married photographer Hall Winslow in 1953 and their only child Kirk Winslow was born in 1955. Winslow and Charlton later divorced in 1973.

Charlton moved to New York City in 1955. She began a master's program at Columbia University and graduated with a M.F.A in film and printmaking in 1958.

Charlton made numerous documentary films, mostly about American artists including Alexander Calder, e. e. cummings, Jeanne Reynal, Dorothy Miller, Pierre Matisse, Lenore Tawney, and Loren MacIver. She also worked tirelessly to promote the work of sculptor, architect, and set designer Frederick Kiesler. She was the camera woman for Kiesler's Kiesler's Universal Theater which aired on CBS in 1962. She became close friends with Kiesler's widow, Lillian, and they collaborated on the film Kiesler on Kiesler and numerous other film and art projects, supporting the work of young artists. Charlton also worked on commissioned films, including The Mosaics of Jeanne Reynal and Zen in Ryoko-in. Charlton befriended many artists in the visual, literary, and film worlds, including Elizabeth Bishop, Dimitri Hadzi, Margo Hoff, James Purdy, and Delphine Seyrig.

A performer in her own right, Charlton appeared in the works of Richard Foreman, Jo Andres, and others. She also played the part of Helen Keller in the film Ghostlight (2003).

An Iowa native, Charlton founded the University of Iowa Museum of Art together with Leone and Owen Elliott. She maintained a close relationship with the Iowa Museum over many years as a donor and chronicler.

Charlton died in New York City on November 25, 2013.
Related Materials:
The Houghton Library at Harvard University and the University of Iowa Museum of Art also hold papers and artwork by Maryette Charlton. The Museum of Modern Art, New York, houses the film Kiesler on Kiesler, created by Maryette Charlton.

The Archives of American Art also has the papers of Frederick and Lillian Kiesler, a portion of which was donated by Charlton.
Provenance:
The Maryette Charlton papers were donated in multiple accretions from 1998-2011 by Maryette Charlton, and in 2013-2014 by the Maryette Charlton estate via Jo Andres, executor.
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:
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Museums -- Administration  Search this
Women artists  Search this
Women painters  Search this
Women photographers  Search this
Women printmakers  Search this
Women educators  Search this
Art -- Study and teaching  Search this
Color  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Interviews
Scrapbooks
Sound recordings
Scripts (documents)
Drawings
Mail art
Motion pictures (visual works)
Video recordings
Citation:
Maryette Charlton papers, circa 1890-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.charmary
See more items in:
Maryette Charlton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw914a42bb1-d069-466f-8948-94f4bf257230
EDAN-URL:
ead_collection:sova-aaa-charmary
Online Media:

Josef Presser and Agnes Hart papers

Creator:
Presser, Josef, 1906-1967  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Artists Equity Association  Search this
Central Cown Art Center  Search this
Dalton School (New York, N.Y.)  Search this
New York University -- Faculty  Search this
Parnassus Square  Search this
Port of New York Authority  Search this
Prospect Hill School (New Haven, Conn.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Ames, Elizabeth  Search this
Blanch, Lucile, 1895-1981  Search this
Fraser, Vera  Search this
Hart, Agnes, 1912-1979  Search this
Hopkinson, Charles, 1869-1962  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Smedley, Agnes, 1892-1950  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Postcards
Sketchbooks
Photographs
Date:
1913-1980
Summary:
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
Scope and Content Note:
The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.

Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.

Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.

Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.

Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.

Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.
Arrangement:
The collection is arranged as 2 series:

Missing Title

Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)

Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)
Biographical Note:
Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.

Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.

After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.

In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.

Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.
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.
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 teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketches
Postcards
Sketchbooks
Photographs
Citation:
Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.presjose
See more items in:
Josef Presser and Agnes Hart papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98563d5b1-b5d0-43ff-b465-95c8d2bab0d3
EDAN-URL:
ead_collection:sova-aaa-presjose
Online Media:

Oral history interview with Juan Sánchez

Interviewer:
Sánchez, Juan, 1954-  Search this
Franco, Josh T., 1985-  Search this
Extent:
9 Items (sound files (7 hr., 59 min.) Audio, digital, wav)
90 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2018 October 1-2
Scope and Contents:
An interview with Juan Sánchez conducted 2018 October 1-2, by Josh T. Franco, for the Archives of American Art, at Sánchez studio, in Brooklyn, New York.
Sanchez speaks of his childhood in Puerto Rican enclaves of Brooklyn; formative experiences with Nuyorican poets; early memories of Puerto Rico; his earliest interest in drawing from comic books; early art-making and art education experiences, including the Pratt Saturday program; encountering Taller Boricua during the time he studied at Cooper Union; drawing formative inspiration from En Foco's photography; flourishing after initial difficulties at Cooper Union; his graduate studies at Mason Gross School of the Arts at Rutgers University; his early exhibition experiences; his negative experience of participating in Group Material's exhibition Americana; reflections on political art; his friendship with Ana Mendieta; his collaborations with MoCHA , INTAR gallery, and Exit Art; the development of his painting, photography, and collage aesthetics through graduate school; the personal and emotional dimension of his art-making process; his use of circles and photographs of heroic historical figures in his paintings; the development and execution of his public art commissions; the development of his teaching career; his experiences working at the Queens Museum education department and Cooper Union admissions department; specific controversies over the content of his work being shown at Princeton University and SUNY Stony Brook; the development and execution of his printmaking practice; and his reflections on the experience and importance of participating in an oral history interview. Sanchez also recalls Amiri Baraka, Sandra María Esteves, Louis Reyes Rivera, Pedro Pietri, Gilbert Hernandez, Jorge Soto, Hans Haacke, Reuben Kadish, Eugene Tulchin, Charles Biasiny, Leon Golub, Larry Fink, Robert Blackburn, Mel Edwards, Doug Ashford, Jimmie Durham, Nancy Spero, Lucy Lippard, Geno Rodriguez, Papo Colo, Jayne Cortez, Carl Andre, Ana Mendieta, Raquelín Mendieta, Noah Jemison, Inverna Lockpez, Nilda Peraza, James Luna, Julia Hirschberg, Susana Leval, Miguel Algarín, Jeanetter Ingberman, Jolie Guy, Susan Bloodworth, Zachary Fabri, Gilbert Cardenas, Jeanne Moutoussamy-Ashe, Michael Brathwaite, Alfredo Jaar, Tomie Arai, Lorenzo Clayton, Joan Hall, Pepe Coronado, Maryanne Simmons, and Melquiades Rosario Sastre.
Biographical / Historical:
Juan Sánchez (1954- ) is a printmaker, muralist, painter, and teacher in Brooklyn, New York. Josh T. Franco (1985- ) is the National Collector, Archives of American Art, Smithsonian Institution, Washington, D.C.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- New York -- Interviews  Search this
Topic:
Mixed media (Art)  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Photographers -- New York (State) -- New York -- Interviews  Search this
Latino and Latin American artists  Search this
Puerto Ricans -- New York (State) -- New York.  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.sanche18
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f02b111e-3cbf-4d7f-a0f8-afd9189b35e3
EDAN-URL:
ead_collection:sova-aaa-sanche18
Online Media:

Oral history interview with Kiki Smith

Interviewee:
Smith, Kiki, 1954-  Search this
Interviewer:
Lyon, Christopher  Search this
Extent:
4 Items (sound files (3 hrs., 21 min.) Audio, digital, wav)
33 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 July 20 and August 16
Scope and Contents:
An interview with Kiki Smith conducted 2017 July 20 and August 16, by Christopher Lyon, for the Archives of American Art, at Smith's home and studio in New York, New York.
Smith speaks of her approach to art as a means of investigating form, scale, and technique; her first printmaking experiences; her childhood in South Orange, New Jersey; her fascination with the human body and religious iconography; early exposure to art and artists through her father, Tony Smith; her involvement in Collaborative Projects, Inc.; the effect of her father's death on her artwork; her experimental art-making process; her first exhibitions in her mid-30s and 40s; her work in glass painting; the role of animals and pets in her life and artwork; her experiences with puppet theatre; the influence of illustrated books on her artwork; the influence of other artists such as Eva Hesse, Lee Bontecou, Frida Kahlo, and Nancy Spero on her artwork; the role of her femininity in her representations of bodies; her formative period of living and working in Berlin during the early 1980s; differences she has observed in the American and European art worlds; her experiences making sculptures in foundries; her experiences working with different gallerists; and her experiences working with four "generations" of assistants. Smith also recalls Malcolm McLaren, Vivienne Westwood, Robert Rauschenberg, Richard Tuttle, Tom Otterness, Charlie Ahearn, Cara Perlman, Walter Robinson, Amy Taubin, Leslie Tonkonow, Joe Fawbush, Raimund Kummer, Geneviève Cadieux, Hermann Pitz, Brooke Alexander, Bill Goldston, Chuck Close, Barbara Krakow, Anthony d'Offay, Susan Dunne, Lorcan O'Neill, and others.
Biographical / Historical:
Kiki Smith (1954- ) is a sculptor, installation artist, and printmaker in New York, New York. Christopher Lyon (1949- ) is a writer in Brooklyn, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Printmakers -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Installations (Art)  Search this
Women artists  Search this
Women printmakers  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.smith17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw924ae0177-db27-4bc8-98cb-56aa0a5324d8
EDAN-URL:
ead_collection:sova-aaa-smith17
Online Media:

Oral history interview with George Condo

Interviewee:
Condo, George  Search this
Interviewer:
Lyon, Christopher  Search this
Names:
Devo (Musical group)  Search this
Massachusetts College of Art -- Students  Search this
Basquiat, Jean-Michel, 1960-1988  Search this
Bishofberger, Bruno  Search this
Clements, Dawn  Search this
Dagley, Mark  Search this
Dahn, Walter, 1954-  Search this
Haring, Keith  Search this
Herman, Roger  Search this
Hughes, Frederick W., 1943-2001  Search this
Kantor, Ulrike  Search this
Kelly, Gene, 1912-1996  Search this
Sharp, Willoughby  Search this
Smith, Rupert Jasen  Search this
Tyrrell, Susan  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
5 Items (sound files (3 hr., 19 min.) Audio, digital, wav)
88 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Place:
Europe -- description and travel
Date:
2017 May 5-June 20
Scope and Contents:
An interview with George Condo conducted 2017 May 5 and June 20, by Christopher Lyon, for the Archives of American Art, at Condo's studio in New York, New York.
Condo speaks of his childhood and adolescence in New England; his Italian grandparents and heritage; his early obsession with drawing; the mathematical dimension of his mind; his Catholic upbringing and its influence on his art; exposure to literature, art, and music through his family; his decision to pursue visual art rather than music; the influence of jazz on his approach to making art; his understanding of tradition and originality; the influence of a wide range of literature on his approach to making art; dropping out of Mass College of Art; playing in a Boston punk rock band called The Girls in the late 1970s; moving to New York in 1981; working on Andy Warhol's silk-screening assembly line; moving to Los Angeles in 1982; being shown in Ulrike Kantor's gallery with Roger Herman's help; formative trips to Europe in the 1980s; important romantic relationships; changes in the New York art world in the 1990s; developing the concept of Artificial Realism; and his appreciation for the old masters of painting. Condo also recalls Dawn Clements, Keith Haring, Jean-Michel Basquiat, Devo, Mark Dagley, Rupert Smith, Fred Hughes, Susan Tyrrell, Gene Kelly, Willoughby Sharp, Walter Dahn, Bruno Bischofberger, and others.
Biographical / Historical:
George Condo (1957- ) is a contemporary visual artist working in New York, New York. Christopher Lyon (1949- ) is a publisher and writer in Brooklyn, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Art -- New York (State) -- New York  Search this
Jazz  Search this
Music  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Photo-realism  Search this
Printmakers -- New York (State) -- New York -- Interviews  Search this
Punk rock music  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.condo17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c2fc582c-0e52-4a03-9166-815594b66f8e
EDAN-URL:
ead_collection:sova-aaa-condo17
Online Media:

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