Search Results

Creator:

Nesbitt, Saul, 1920-1993  Search this

Names:

Archway Cookies, Inc.  Search this

Borden's Farm Products Co. of Illinois  Search this

Campbell Soup Company  Search this

Cooper-Hewitt Design Archive  Search this

Eastman Kodak Company  Search this

Florists' Telegraph Delivery Association  Search this

Franco American Food Co.  Search this

Lever Brothers and Unilever, ltd.  Search this

National Distillers and Chemical Corporation  Search this

Nesbitt Associates, Ltd.  Search this

P. Ballantine & Sons  Search this

Philip Morris Incorporated  Search this

Revlon, Inc.  Search this

Schick (Firm)  Search this

Scott Paper Company  Search this

Seagram Company  Search this

Collector:

Cooper-Hewitt Design Archive  Search this

Extent:

3.5 Cubic feet (11 boxes)

Type:

Collection descriptions

Archival materials

Slides

Sketches

Transparencies

Press releases

Correspondence

Photographs

Media lists

Blueprints

Drawings

Clippings

Client lists

Samples

Date:

1951-1984, undated

Summary:

Collection primarily consists of photographic materials including color slides, color and black & white transparencies, and black & white photographs; press releases, articles, correspondence, press releases, client lists, and surveys documenting the life and work of packaging, industrial, and graphic designer Saul Nesbitt.

Scope and Contents:

Series 1, Background and Biographical Information, 1951-1984

Consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.

Series 2, Records of the Public Relations Office, 1955-1963

Includes press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press.

Series 3, Correspondence, dates

Contains general office communications

Series 4, Photographic Materials, 1951-1981

Consists of color slides, color and black and white transparencies, and black and white photographs of most of Nesbitt's designs for packaging from 1951-1981.

Series 5, Samples, undated

Includes three samples of fitted presentation boxes designed by Nesbitt, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.

Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.

Arrangement:

This collection is arranged into five series:

Series 1, Background and Biographical Information, 1951-1984

Series 2, Records of the Public Relations Office, 1955-1963

Series 3, Correspondence, dates

Series 4, Photographic Materials, 1951-1981

Series 5, Samples, undated

Biographical / Historical:

Saul Nesbitt was a packaging, industrial, and graphic designer born in New York City on August 10, 1920. He was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University (NYU); Columbia University; Pratt Institute of Art; and the New School.

Nesbitt served in the United States Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.

Saul Nesbitt worked with Lippincott Industrial Design from 1948 to 1951. He opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Phillip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.

Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993 at the age of seventy-three.

Related Materials:

Archives Center, National Museum of American History

NW Ayer & Sons, incorporated Advertising Agency Records, NMAH.AC.0059

Warshaw Collection of Business Americana, NMAH.AC.0060

Alan and Elaine Levitt Advertisement Collection, NMAH.AC.0303

Marlboro Oral History and Documentation Project, NMAH.AC.0198

Campbell Soup Advertising Oral History and Documentation Project, NMAH.AC.0367

Caroline R. Jones Papers, NMAH.AC.0552

Virgil Johnson Collection of Cigarette Packages, NMAH.AC.0645

Revlon, Incorporated Advertising Collection, NMAH.AC.0939

Landor Design Collection, NMAH.AC.0500

Albert W. Hampson Commercial Artwork Collection, NMAH.AC.0561

Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063

Smithsonian Institution

Archives of American Art

Esta Nesbitt Papers, circa 1942-1981

Smithsonian Institution Archives

Archives Collection Management Records, 1989-2006

Provenance:

Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Occupation:

Industrial designers  Search this

Packaging designers  Search this

Graphic designers  Search this

Topic:

Consumers -- Research  Search this

Consumers' preferences -- United States  Search this

Housewives as consumers  Search this

Labels -- Design  Search this

Corporate image -- Design  Search this

Logos (Symbols) -- Design  Search this

Graphic arts -- United States  Search this

Design, Industrial -- United States  Search this

Packaging -- Design  Search this

Genre/Form:

Slides

Sketches

Transparencies

Press releases

Correspondence

Photographs -- 20th century

Media lists

Blueprints

Drawings

Clippings

Client lists

Samples -- 1920-2000

Citation:

Saul Nesbitt Papers, 1951-1984, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1275

See more items in:

Saul Nesbitt Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep857e2f039-d3d5-4307-a474-a5e5072e4e74

EDAN-URL:

ead_collection:sova-nmah-ac-1275

Interviewee:

Cunningham, Patricia Stanley, 1907-1984  Search this

Interviewer:

McChesney, Mary Fuller  Search this

McChesney, Robert, 1913-2008  Search this

Names:

Federal Art Project (Calif.)  Search this

Ariss, Bruce  Search this

Boundey, Burton, 1879-1962  Search this

Bufano, Beniamino, 1898-1970  Search this

Waldo, Amalie  Search this

Extent:

48 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 July 28

Scope and Contents:

An interview of Patricia Stanley Cunningham conducted 1964 July 28, by Mary Fuller McChesney and Robert McChesney, for the Archives of American Art.

Cunningham speaks of her training at the University of California, Berkeley; her work for the Federal Art Project as a muralist in public school buildings and on the easel painting project in the area around Monterey, Carmel, and Big Sur, California; how her work was supervised; artists she knew; starting the Carmel Art Institute with her husband, John Cunningham, and the effect of the Federal Art Project on her career. She recalls Bruce Ariss, Burton Boundey, Beniamino Bufano, and Amalie Waldo.

Biographical / Historical:

Patricia Stanley Cunningham (1907-1984) was a painter, sculptor, designer, and muralist from Carmel, California.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 48 min.

Provenance:

This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Muralists -- California  Search this

Painters -- California  Search this

Designers -- California  Search this

Sculptors -- California  Search this

Art school directors  Search this

Topic:

Federal aid to the arts  Search this

Mural painting and decoration  Search this

Women artists  Search this

Women painters  Search this

Women designers  Search this

Women sculptors  Search this

Women muralists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.cunninp64

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f6e24494-b3fd-4f7c-b5b0-2fb9e4a130fc

EDAN-URL:

ead_collection:sova-aaa-cunninp64

Creator:

Ukeles, Mierle  Search this

Extent:

183.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1960-2016

Scope and Contents:

The Mierle Laderman Ukeles papers measure 183.3 linear feet and date from circa 1960-2016. Included are correspondence, project files, fiscal files, teaching files, writings, interviews and printed material. A portion of the collection contains electronic media.

Biographical / Historical:

Mierle Laderman Ukeles (1939- ) is a conceptual artist, environmental artist, and public artist in New York, N.Y.

Provenance:

Donated 2020 by Mierle Laderman Ukeles.

Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

Occupation:

Conceptual artists -- New York (State) -- New York  Search this

Environmental artists -- New York (State) -- New York  Search this

Public artists -- New York (State) -- New York  Search this

Topic:

Women artists  Search this

Feminism and art  Search this

Identifier:

AAA.ukelmier

See more items in:

Mierle Laderman Ukeles papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw974da2f2c-cf8b-4b65-b2ac-3191ca410ba6

EDAN-URL:

ead_collection:sova-aaa-ukelmier

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 83, Folder 38

Type:

Archival materials

Date:

2001

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Writings / Writings by Ukeles

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96f66917b-f857-432f-afb7-227fa7318220

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref2138

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 83, Folder 44

Type:

Archival materials

Date:

2003

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Writings / Writings by Ukeles

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e44085d4-48cf-47fa-8a25-886b2da5245a

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref2144

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 84, Folder 11

Type:

Archival materials

Date:

2012-2013

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Writings / Writings by Ukeles

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw939cc0a5f-1bee-4e2f-86d8-35cab1aceec0

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref2156

Creator:

Flack, Audrey  Search this

Names:

Arizona State University  Search this

Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this

Cooper Union for the Advancement of Science and Art  Search this

Guild Hall of East Hampton  Search this

Louis K. Meisel Gallery  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Janson, Anthony F.  Search this

Extent:

34.6 Linear feet

0.897 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Date:

1950-2022

Summary:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Scope and Contents:

The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.

Arrangement:

The collection is arranged as 9 series.

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)

Biographical / Historical:

Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.

Provenance:

The collection was donated by Audrey Flack in 2009 and 2022.

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 York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Art -- Economic aspects  Search this

Artists' studios -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Scrapbooks

Photographs

Motion pictures (visual works)

Video recordings

Sound recordings

Citation:

Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.flacaudr

See more items in:

Audrey Flack papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c12179ce-d722-47e1-b806-32a27e29d8f3

EDAN-URL:

ead_collection:sova-aaa-flacaudr

Creator:

Suárez Rosádo, Angel  Search this

Names:

McCarthy, Justin, 1891-1977  Search this

Rojas, Daniel  Search this

Rosario, Vidal  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketchbooks

Date:

1978-2010

Summary:

The papers of Angel Suarez Rosado measure 0.6 linear feet and date from 1978 to 2010. The papers document Suarez Rosado's career as an artist and teacher through a resume, teaching files on drawing plant life and on drawing anatomical figures, work for the Crayola Factory, articles, exhibition announcements and catalogs, sketchbooks and sketches, and photographs of artwork and altar pieces. Also included are two hollow book pieces of art, two miscellaneous pieces of art, and a sketchbook of cars by Justin McCarthy.

Scope and Contents:

The papers of Angel Suarez Rosado measure 0.6 linear feet and date from 1978 to 2010. The papers document Rosado's career as an artist and teacher through a resume, teaching files on drawing plant life and on drawing anatomical figures, work for the Crayola Factory, articles, exhibition announcements and catalogs, sketchbooks and sketches, and photographs of artwork and altar pieces. Also included are two hollow book pieces of art, two miscellaneous pieces of art, and a sketchbook of cars by Justin McCarthy.

Arrangement:

The collection is arranged into one series.

Series 1: Angel Suarez Rosado papers, 1978-2010 (0.6 linear feet; Boxes 1-2)

Biographical / Historical:

Angel Suarez Rosado (1957- ) is a Puerto Rican born altar maker, sculptor, mask maker, painter, and educator in Easton, Pennsylvania. Angel Suarez Rosado moved to New York City from Cayeye, Puerto Rico as a young adult and was active in New York. Suarez Rosado currently teaches classes at the Crayola Factory, Easton, Pennsylvania.

Provenance:

Donated 2015 by Angel Suarez Rosado.

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:

Educators -- Pennsylvania  Search this

Painters -- Pennsylvania  Search this

Sculptors -- Pennsylvania  Search this

Topic:

Latino and Latin American artists  Search this

Genre/Form:

Scrapbooks

Sketchbooks

Citation:

Angel Suarez Rosado Papers, 1978-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.suarange

See more items in:

Angel Suarez Rosado papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90ca60c8e-12f7-4000-840d-af4b518157e6

EDAN-URL:

ead_collection:sova-aaa-suarange

Creator:

Fine, Jud  Search this

McCarren, Barbara  Search this

Extent:

16.7 Linear feet

0.345 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Date:

circa 1968-2009

Summary:

The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.

Scope and Contents:

The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.

Correspondence is mostly professional in nature and is largely from Jud Fine's early career in the late sixties through the 1970s. There is also come McCarren/Fine correspondence starting in the 1990s as well as some correspondence regarding Barbara McCarren's solo career.

The writings series is comprised primarily of Jud Fine's writing practice associated with his earlier career, including notes and journal entries, lectures by Fine, as well as manuscripts for catalog essays and artist publications, an interview from 1984, and writings on Fine by others.

The personal business series includes exhibition files as well as gallery files containing sale and consignment paperwork, as well as daily business of the studio, primarily pertaining to Jud Fine's earlier career, with some documents pertaining to Barbara McCarren's solo career from the 1990s on.

Project files document various public art works and commissions taken on or applied for by McCarren/Fine, as well as solo projects that date before and after their formal collaboration in 1996. These documents include correspondence, contracts, reports, meeting minutes, renderings and other plans, notes, photographic material and research material, some of which is in digital formats.

Printed material includes various promotional materials for McCarren/Fine and solo projects for Barbara McCarren and Jud Fine, as well as a graphic design magazine publication, and a monographic catalog for a Jud Fine exhibition from 1974. Photographic material includes miscellaneous snapshots and snapshot albums, some of Fine and McCarren, in the studio and with artist friends, as well as an untitled album with study images of a strelitzia plant.

Artwork includes a single, unsigned painted work on canvas that has been cut awat from the frame or support.

Arrangement:

The collection is arranged as seven series:

Series 1: Correspondence, circa 1970-2001 (0.5 Linear feet: Box 1)

Series 2: Writings, circa 1968-2003 (0.5 Linear feet: Box 1)

Series 3: Personal Business, circa 1969-2001 (1 Linear foot: Box 2)

Series 4: Project Files, circa 1988-2009 (14.4 Linear feet: Boxes 2-20; Oversize 21; 0.345 Gigabytes: ER0001-ER0005)

Series 5: Printed Material, circa 1974-1992 (0.2 Linear feet: Box 16)

Series 6: Photographic Material, circa 1970s-2000 (0.1 Linear feet: Box 16)

Series 7: Artwork, circa 1980s (1 Folder: Box 16)

Biographical / Historical:

Jud Fine (1944- ) is a sculptor and educator in Venice, California, as well as former director of the University of Southern California Roski School of Fine Arts. Jud Fine is married to fellow artist, sculptor and installation artist Barbara McCarren (1958-), born in Washington, D.C., and they maintain a studio where they work on projects and commissions both individually and collaboratively.

Born in Los Angeles, Fine received a BA in History from the University of California, Santa Barbara. With a limited artwork portfolio he was lucky enough to be accepted into the Masters of Fine Arts program at Cornell University. Fine's reputation as an artist took hold firmly in the late 1960s and early 1970s, becoming particularly well known for sculpture and mixed media drawings, which established a recognizable style and conceptual framework. He has been represented by Ronald Feldman Gallery in New York City since 1972. He has participated in solo and group exhibitions internationally at institutions including Museum of Contemporary Art, Los Angeles, Los Angeles County Museum of Art, Chicago Art Institute, Museum of Contemporary Art, Chicago, Guggenheim Museum, New York, Yale University Art Museum, Museum Stuki, Poland, University of Sidney, Power Art Institute, Australia and the Pushkin State Museum of Fine Art, Moscow. McCarren received her bachelors of arts degree at UCLA in1980 and would meet Fine during work towards her masters of fine arts at USC in 1986. After nearly a decade of pursuing solo career opportunities including public art commissions, they decided to join forces making collaborative project proposals as McCarren Fine.

As Mccarren/Fine they have executed several works including Waterline a two square block mixed use development in Huntington Beach, CA, Split Mound for the San Francisco Zoo, Mais a 23-acre interactive park in Long beach, CA, Modestopo, the civic center plaza for the City of Modesto and Stanislaus County, CA and both the Central Library and Pershing Square in downtown Los Angeles. Beyond public art commissions, their collaboration has extended to their studio practice, with collaborative exhibitions including a 2002 show in Bangkok, Thailand, that was later expanded with new work for the 2005 show, Currency, at Ronald Feldman Gallery, New York. Together McCarren/Fine have completed around thirty public work projects, and numerous studio projects.

Provenance:

Donated in 2022 by Jud Fine and Barbara McCarren.

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:

Sculptors -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Installation artists -- California -- Los Angeles  Search this

Topic:

Public art -- United States  Search this

Genre/Form:

Interviews

Citation:

Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.finejud

See more items in:

Jud Fine and Barbara McCarren papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c608732e-9329-442c-a514-56242b3018e9

EDAN-URL:

ead_collection:sova-aaa-finejud

Creator:

Holt, Nancy, 1938-2014  Search this

Names:

James Cohan Gallery  Search this

John Weber Gallery  Search this

Smithson, Robert  Search this

Extent:

circa 42 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Diaries

Sound recordings

Video recordings

Drawings

Date:

circa 1900-2014

Summary:

The Nancy Holt Estate records measure circa 42 linear feet and date from circa 1900-2014, with the bulk of the material dating from 1960-2000. The records include financial records, notebooks, project files including unrealized proposals, correspondence, calendars, and 9 linear feet of Holt's annotated library. Also included are the John Weber Gallery records concerning Robert Smithson that consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks, and incorporate some slides from the James Cohan Gallery. James Cohan worked for John Weber before establishing his own gallery in 2001.

Scope and Contents:

The Nancy Holt Estate records measure circa 42 linear feet and date from circa 1900-2014, with the bulk of the material dating from 1960-2000. The records include financial records, notebooks, project files including unrealized proposals, correspondence, calendars, and 9 linear feet of Holt's annotated library. Also included are the John Weber Gallery records concerning Robert Smithson that consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks. The records incorporate some slides from the James Cohan Gallery (1999-), an art gallery in Manhattan, New York, which represents the estate of Robert Smithson.

Arrangement:

The Nancy Holt Estate records are arranged as 4 series.

Series 1: Project Files, circa 1900-2014, bulk 1970-2000 (12.8 linear feet; Boxes 3-10, OVs 11-31, RDs 32-39)

Series 2: Calendars and Notebooks, circa 1970s-2013 (2 linear feet; Boxes 40-42, OVs 43-44)

Series 3: John Weber Gallery Records Concerning Robert Smithson, circa 1960-circa 2001 (2 linear feet; Boxes 1-2)

Series 4: Unprocessed Papers, circa 1960s-circa 2014 (25.2 linear feet; Boxes 45-69, OVs 70-71)

Biographical / Historical:

Nancy Holt (1938-2014) was an environmental and installation artist, sculptor, filmmaker, and photographer, based in New York, New York. She was best known for her large-scale public land art installations including her seminal work Sun Tunnels (1973-1976) located in the Great Basin Desert, Utah. Her work engaged with the natural environment and the celestial realm, tracing the rotation of the earth and the movement of the sun and stars. Holt was also fascinated by mechanical systems such as those used for heating, drainage, and ventilation, and her functional sculptural installations explored the relationship between architecture and the built environment.

Holt was born in Worcester, Massachusetts, grew up in New Jersey, and graduated from Tufts University in 1960 with a degree in biology. She moved to New York City later that year where she met the artist Robert Smithson, to whom she was married from 1963 until Smithson's death in 1973.

Holt's landmark work Sun Tunnels was executed in 1973-1976 in Utah's Great Basin Desert, where Holt and Smithson had purchased surrounding land specifically to ensure an unimpeded view of the horizon. Holt went on to produce many site-specific outdoor works including 30 Below (1980), Dark Star Park (1984), Solar Rotary (1995), and Up and Under (1998). Her exploration of what she termed Systems Works included Catch Basin (1982), Flow Ace Heating (1985), and Spinwinder (1991).

Holt's photography was essential in the development of her ideas. In Missouri Ranch Locators: Vision Encompassed (1972) she used photography in her development of "seeing devices," creating eye-level steel pipes to direct viewers to a specific site in the surrounding landscape, and developing a concept that was central to Sun Tunnels and other works. Her book Ransacked, Aunt Ethel: An Ending (1980) documented through text and photographs the abuse and theft her aunt was subjected to at the end of her life. In Time Outs (1985) Holt used photographs of football games taken from a television screen to create a book born out of her childhood love of TV sporting events.

Holt's work can be found in the collections of major institutions including the Museum of Modern Art and the Whitney Museum of American Art in New York, the Utah Museum of Fine Arts, and the Museum für Gegenswartkunst, Germany. Her permanent installations can be found at public institutions including Miami University Art Museum, Southern Connecticut State University, University of Massachusetts, Dartmouth, Western Washington University, and University of South Florida.

In 2012 Nancy Holt was made a Chevalier of the of the Ordre des Arts et des Lettres by the French Government. In 2013 she was presented with a Lifetime Achievement Award by the International Sculpture Center in New York. Holt received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa.

Holt lived in Galisteo, New Mexico, from 1995-2013. She died in New York City in 2014.

Related Materials:

The Archives of American Art also holds the Robert Smithson and Nancy Holt papers, an interview with Nancy Holt conducted 1992 July 6 by Scott Gutterman for the Archives of American Art, and an interview with Nancy Holt conducted 1993 August 3 by Joyce Pomeroy Schwartz for the Archives of American Art.

Provenance:

Bequest of Nancy Holt, 2014.

Restrictions:

Portions of the collection are open for research. Series 4: Unprocessed Papers is currently closed for processing. Financial files, and Nancy Holt's annotated library of books are currently closed to researchers.

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.

Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.

Occupation:

Sculptors -- New York (State) -- New York  Search this

Filmmakers -- New York (State) -- New York  Search this

Environmental artists -- New York (State) -- New York  Search this

Installation artists -- New York (State) -- New York  Search this

Photographers -- New York (State) -- New York  Search this

Sculptors -- New Mexico -- Galisteo  Search this

Installation artists -- New Mexico -- Galisteo  Search this

Environmental artists -- New Mexico -- Galisteo  Search this

Photographers -- New Mexico -- Galisteo  Search this

Filmmakers -- New Mexico -- Galisteo  Search this

Topic:

Women artists  Search this

Women sculptors  Search this

Earthworks (Art)  Search this

Women photographers  Search this

Women filmmakers  Search this

Genre/Form:

Interviews

Diaries

Sound recordings

Video recordings

Drawings

Citation:

Nancy Holt Estate records, circa 1900-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.holtnanc

See more items in:

Nancy Holt Estate records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95e0b7a8b-3fdb-4cd3-91fb-a6bec00cc668

EDAN-URL:

ead_collection:sova-aaa-holtnanc

Interviewee:

Herrera, Cadex, 1975-  Search this

Interviewer:

Espinosa, Fernanda  Search this

Names:

Pandemic Oral History Project  Search this

Extent:

1 Item (video files (26 min.) VIdeo, digital, mp4)

7 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Video recordings

Interviews

Date:

2020 August 11

Scope and Contents:

An interview with Cadex Herrera conducted 2020 August 11, by Fernanda Espinosa, for the Archives of American Art's Pandemic Oral History Project at Herrera's home in White Bear Lake, Minnesota.

Biographical / Historical:

Cadex Herrera (1975- ) is an artist, activist, and educator in White Bear Lake, Minnesota. Herrera was a lead artist in the creation of the George Floyd mural in Minneapolis, Minnesota.

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:

This interview is open for research.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Artists -- Minnesota  Search this

Educators -- Minnesota  Search this

Topic:

Latino and Latin American artists  Search this

Pandemics  Search this

COVID-19 (Disease)  Search this

Genre/Form:

Video recordings

Interviews

Sponsor:

This interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.herrer20

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d6c9f5e9-adf3-4379-bedc-1683cc1afb10

EDAN-URL:

ead_collection:sova-aaa-herrer20

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 77, Folder 41

Type:

Archival materials

Date:

2000

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Lectures and Teaching Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw915ca0793-a7a9-49d7-971a-90efe4e7debc

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref1988

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 77, Folder 46

Type:

Archival materials

Date:

2001

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Lectures and Teaching Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ec474415-7f8f-4ee3-b145-699db4f1bdb3

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref1993

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 77, Folder 47-48

Type:

Archival materials

Date:

2001

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Lectures and Teaching Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91d31a2e4-0a20-4495-868a-241f4e94d9ad

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref1994

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 79, Folder 20

Type:

Archival materials

Date:

2009

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Lectures and Teaching Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw962e63b4c-c0ea-4013-8191-ac5894c541c9

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref2043

Extent:

8.77 Cubic feet (24 containers (22 letter boxes, 2 flat boxes))

Type:

Collection descriptions

Archival materials

Date:

1940s-2000s

Summary:

The Radar Collection [Blom] consists of approximately 5 cubic feet of maintenance guides for radar systems, wartime equipment catalogs and guides, periodicals, photographs and audio/visual materials.

Scope and Contents:

This collection conists of approximately 9 cubic feet consists of Western Electric maintenance guides for radar systems, wartime equipment catalogs and guides, periodicals, photographs and audio/visual materials.

Arrangement:

This collection is organized into five series according to material type:

Series 1: Technical Manuals, Handbooks and Catalogs, 1942-1995

Series 2: Other Publications and Miscellaneous, 1940-2006

Series 3: Photographs and Negatives, 19402, 1950s and undated

Series 4: Oversize, 1945

Series 5: Audiovisual, undated

Biographical / Historical:

Jacob Michael Blom (1944--2023) was born in Amsterdam and emigrated to the United States in 1952. From an early age, Blom had a keen interest in science and attended the Neward College of Engineering. In 1966, he graduated with a Bachelor of Science degree in Electrical Engineering. According to his family, he spent countless happy hours in his 3,500 square foot workshop, which was filled with radar sets, navigation equipment, countermeasures equipment, radar test equipment, many spare parts and over a thousand original equipment manuals and other reference materials which he began collecting in 1960. He was also a Senior Vice President of the Mitre Corporation. Mr. Blom passed away in 2023.

Provenance:

Heather Ramos, Gift, 2023, NASM.2024.0005

Restrictions:

No restrictions on access

Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Topic:

Aeronautics  Search this

Radar in aeronautics  Search this

Radar  Search this

United States Navy -- 20th century  Search this

Citation:

Radar Collection [Blom], Acc. NASM.2024.0005, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.2024.0005

See more items in:

Radar Collection [Blom]

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg23f2bf6d3-404b-4122-8625-186ce81b59e4

EDAN-URL:

ead_collection:sova-nasm-2024-0005

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Radar Collection [Blom], Acc. NASM.2024.0005, National Air and Space Museum, Smithsonian Institution.

Identifier:

NASM.2024.0005, Series 2

See more items in:

Radar Collection [Blom]

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2346b6419-ec5c-44d4-b082-0f8c4a4e85a1

EDAN-URL:

ead_component:sova-nasm-2024-0005-ref123

Container:

Box 18, Folder 5

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Radar Collection [Blom], Acc. NASM.2024.0005, National Air and Space Museum, Smithsonian Institution.

See more items in:

Radar Collection [Blom]

Radar Collection [Blom] / Series 2: Other Publications and Miscellaneous, 1940-2006

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2802a3f1d-f06b-4efa-80db-6a8db7556f71

EDAN-URL:

ead_component:sova-nasm-2024-0005-ref124

Container:

Box 18, Folder 6

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Radar Collection [Blom], Acc. NASM.2024.0005, National Air and Space Museum, Smithsonian Institution.

See more items in:

Radar Collection [Blom]

Radar Collection [Blom] / Series 2: Other Publications and Miscellaneous, 1940-2006

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg26e2713c9-311c-413e-92cd-42faacff3c3e

EDAN-URL:

ead_component:sova-nasm-2024-0005-ref125

Container:

Box 18, Folder 7

Type:

Archival materials

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

Collection Citation:

Radar Collection [Blom], Acc. NASM.2024.0005, National Air and Space Museum, Smithsonian Institution.

See more items in:

Radar Collection [Blom]

Radar Collection [Blom] / Series 2: Other Publications and Miscellaneous, 1940-2006

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2538af044-0a46-4b64-8a64-e69c3ed7f08c

EDAN-URL:

ead_component:sova-nasm-2024-0005-ref126