Eggs by Andy Warhol : paintings, polaroids and dessert drawings / introduction by Vincent Fremont ; essay by Robert Rosenblum ; [Herausgeber, Rafael Jablonka ; Übersetzung, Kay Heymer ; Redaktion, Birgit Müller, Corina Rütten, Karin Weckermann]
Jacqueline Humphries and Dodie Kazanjian. Interviews about self-portraits with Jacqueline Humphries, Amy Sillman, Robert Rosenblum, Kiki Smith and Sue Williams, 2003 August 13-October 5. Dodie Kazanjian papers, 1949-2017. Archives of American Art, Smithsonian Institution.
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.
Scope and Contents:
The papers of art historian, curator, and professor Robert Rosenblum measure 38.3 linear feet and 1.17 GB and date from circa 1927 to 2009, with the bulk dating from 1950 to 2006. They include biographical material, extensive personal and professional correspondence; lectures, writings, and writing project files by Rosenblum and others; exhibition files; research reference files; teaching files; personal business records; printed and digital material; photographs; and artwork.
Biographical materials include Rosenblum's bibliography and resume materials, various school related ephemera and diplomas, a transcript of an interview with Amy Newman for Artforum, and a digital video recording of a Josef Levi interview. Extensive personal and professional correspondence is with friends, family, colleagues, publishers, museums, and others. Some of the correspondents include Melvin Becraft, the Guggenheim, Harry Abrams, Inc., Hilton Kramer, the Los Angeles County Museum of Art, and the National Museum of American Art. Also found are numerous postcards.
Lectures, writings, and writing project files document Rosenblum's prolific writing and speaking career, and include notes, copies, and manuscript drafts of lectures, articles, catalog essays, and books, as well as additional materials related to the writings and the publication of books, such as as correspondence, editing feedback, photographs, and lists of photographs. There are manuscript, notes, and other materials related to many of Rosenblum's notable books, including Transformations in Late Eighteenth-Century Art, Paintings in the Musee D'Orsay, 19th-Century Art, The Dog in Art, Ingres, Modern Painting and the Northern Tradition, and others. Also found are Rosenblum's dissertation and other student writings. There is also a series containing writings by or about others, such as students and colleagues.
Rosenblum planned and facilitated numerous exhibitions that are well-documented within the exhibition files, including French Painting, 1774-1830: The Age of Revolution (1974), 1900: Art at the Crossroads (2000), Norman Rockwell: Pictures for the American People (2001), Best in Show: Dogs in Art from the Renaissance to the Present (2006), and Citizens and Kings: Portraits in the Age of Revolution, 1760-1830 (2007), among many others. Contents of each exhibition file vary considerably but often include correspondence, lists of artwork, proposals, notes, catalog drafts and outlines (see also series 3), and printed materials. There are a few sound cassettes, including a recorded interview with James Rosenquist with transcripts. Also included are digital photographs of Norman and Irma Braman Collection exhibition.
Research reference files cover a wide variety of art related topics, but are arranged within a separate series because they are not related to specific named projects as are the files in Series 3. These files contain research notes, bibliographies, and syllabi kept by Rosenblum presumably for a variety of publications, research interests, and teaching references.
Teaching files and class notes document Rosenblum's professorial career at Columbia University, New York University, Princeton University, University of Michigan, Yale College, and Yale University, and include a variety of course materials.
Personal business records consist of various financial and legal documents, expense and income records, publishing and speaking contracts, and royalties received.
The papers also include a variety of printed materials, photographs, student sketches by Rosenblum, and an unidentified collage.
Arrangement:
The collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, 1927-2006 (0.5 linear feet; Box 1, 1.00 GB; ER02)
Series 2: Correspondence, circa 1927-2006 (4.5 linear feet; Boxes 1-5)
Series 3: Lectures, Writings, and Writing Project Files, 1940-2006 (13.5 linear feet; Boxes 5-16, OV 39-41, 0.063 GB; ER01)
Series 4: Writings by Others, circa 1954-2006 (2.9 linear feet; Boxes 16-19)
Series 5: Exhibition Files, circa 1965-circa 2006 (5.2 linear feet; Boxes 19-24, 0.109 GB; ER03)
Series 6: Research Files, circa 1927-2006 (2.9 linear feet; Boxes 24-27)
Series 7: Teaching Files and Class Notes, 1955-2006 (4.3 linear feet; Boxes 27-31)
Series 8: Personal Business Records, 1951-2009 (4.4 linear feet; Boxes 31-36)
Series 9: Printed Material, 1927-2009 (2.4 linear feet; Boxes 36-38)
Series 10: Photographs, circa 1950s-circa 2000 (0.3 linear feet; Box 38, OV 41)
Series 11: Artwork, circa 1940s-circa 1980s (0.1 linear feet; Box 38)
Biographical / Historical:
Robert Rosenblum (1927-2006) was an art historian, curator, and professor who worked primarily in New York City.
Rosenblum received his B.A. from Queens College, his M.A. from Yale, and his Ph.D. from the Institute of Fine Art at New York University in 1956. He spent a year teaching art at the University of Michigan before becoming an associate professor at Princeton, ultimately accepting a Professor of Fine Arts position at NYU in 1966, where he spent the rest of his professorial career interspersed with visiting professorships at Oxford University and Yale University. Rosenblum was named Henry Ittleson, Jr. Professor of Modern European Art at NYU in 1976, and received the Frank Jewett Mather Award for Distinction in Art Criticism in 1981. After being appointed Stephen and Nan Swid Curator of 20th-Century Art at the Solomon R. Guggenheim Museum in 1996, Rosenblum went on to curate such exhibitions as 1900: Art at the Crossroads (2000) and Norman Rockwell: Pictures for the American People (2001). Prior to this appointment, he was one of the organizers of the Metropolitan Museum of Art's French Painting, 1774-1830: The Age of Revolution (1974). He received a Distinguished Teaching Award from NYU in 2005, and continued to curate, lecture, teach, and write.
Rosenblum was a prolific author, and his seminal works include: Cubism and Twentieth-Century Art (1959), Transformations in Late Eighteenth-Century Art (1967), Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko (1975), and 19th-Century Art (co-authored with H.W. Janson, 1984).
Rosenblum married Jane Kaplowitz in 1978. He died in New York City in 2006.
Provenance:
The papers were donated in multiple accessions by Robert Rosenblum between 1986 and 2003, and by his widow, Jane Kaplowitz between 2010 and 2013.
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 and electronic media 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:
Art historians -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.
Series consists primarily of Nevelson's professional correspondence, as well as some personal and family correspondence. Files are typically made up of letters, invitations, greeting cards, and telegrams received by Nevelson, copies of letters sent on her behalf (by lawyers and assistants) or shared with her by others, and photographs, press releases, clippings, and other printed material enclosed with correspondence. Correspondents include artists, dealers, museums, universities, art critics, collectors, arts-related and social organizations, admirers, along with some friends, colleagues, and family members in addition to her son. (See appendix for a select list of notable correspondents.)
General correspondence details the exhibition of Nevelson's work in various group and one-man shows; the consignment, sale, and disposition of her work, especially her dealings with the Martha Jackson Gallery and Daniel Cordier (in Europe); her donations of art work to museums and universities, and for auction by charitable organizations; and the various honors and awards received by her later in her career (including the Creative Arts Medal in Sculpture from Brandeis University and honorary degrees from the Philadelphia College of Art and Bowdoin College, among others). General correspondence also concerns Nevelson's various art-related activities, including her participation on various panels, and in workshops, conferences, and lecture series on art; her involvement in professional organizations, such as the Sculptor's Guild; and her service on various award juries and arts committees (such as the Arts and Entertainment Committee for the Rockefeller Team).
Correspondence is arranged chronologically. Correspondence in this series from the 1966-1979 acquisition has been scanned in its entirety, except for Louise Nevelson's correspondence with her son, Mike. The bulk of correspondence donated by the Farnsworth Art Museum includes an item-level inventory, and is mostly separated by personal and business subject matter.
See Appendix for a list of selected correspondents from Series 2.
Appendix: Selected Correspondents from Series 2:
List represents only a selection of correspondents and does not include names of family.
Massachusetts Institute of Technology, Center for Advanced Visual Studies: 1971
Miller, Kenneth Hayes: 1931, 1933
Milone, Joe: 1941
Minneapolios College of Art and Design: 1971
Mount Holyoke College: 1962, 1964
Museum of Art, Carnegie Institution: 1967, 1971, 1974
Museum of Fine Arts of Houston: 1954
Museum of Modern Art: 1943, 1953, 1955, 1964, 1967, 1968
National Association of Women Artists: 1953, 1954
National Foundation on the Arts and Humanities: 1966
Neumann, Hans: 1962
Neumann, J. B.: 1954
New School for Social Research: 1961
The New York Times -- : 1968
New York State Council on the Arts: 1968
The New Yorker -- : 1967
Newsweek -- : 1967
Nierenforf, Karl: 1941, 1943, 1946
Nordjyllands Kunstmuseum: 1973
Ono, Yoko: 1971
Pace Gallery: 1976
Pennsylvania Academy of Fine Arts: 1952, 1970
Philadelphia College of Art: 1961, 1968
Philadelphia Museum of Art: 1965
Princeton University: 1962
Queens College: 1958
Rhode Island School of Design: 1971
Riverside Museum: 1964
Rockefeller, Nelson: 1960, 1962, 1966, 1968
Roberts, Collette: 1952, 1953
Robus, Hugo: 1958
Rosenblum, Robert: 1958
Sewall, Mrs. Sumner: 1943
Silvermine Guild of Artists: 1953, 1954, 1955
Skowhegan School of Painting and Sculpture: 1970, 1971
Solomon R. Guggenheim Museum: 1964, 1966
Tamarind Lithography Work Shop: 1971
Tate Gallery: 1963, 1966, 1967, 1968
Teachers College, Columbia University: 1964
Trenton State College: 1961
Tyler, Parker: 1958
United States Committee of the International Association of Art: 1971
University of Alabama, Department of Art: 1964
University of Bridgeport: 1971
University of Nebraska Art Galleries: 1951
Vogue -- : 1964
Wadsworth Atheneum Museum of Art: 1962
Walker Art Center: 1971, 1973
Weber, Max: 1947, 1948, 1950, 1951
Western College for Women: 1964
The White House: 1974
Whitney Museum of American Art: 1950, 1956, 1957, 1962, 1964, 1966, 1967
Wichita State University: 1974
The Woman's College of The University of North Carolina: 1951
Women's Interart Center: 1973
Yale University, Department of Art: 1961
Collection Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 and 2022 addition. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.
The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.
Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)
Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)
Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)
Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)
Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)
Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)
Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)
Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.
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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Linda Nochlin papers, circa 1876, 1937-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
Research material including correspondence, writings and notes, photographs, and printed material on Cezanne, Thomas Eakins, and Picasso: Authorization to publish, quote, or reproduce requires written permission from Ruth Bowman. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ruth Bowman papers, 1936-2006, bulk 1963-1999. Archives of American Art, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
