A symposium, "The International Style in Perspective," sponsored by Harvard University Graduate School of Design and held to commemorate the 1932 exhibit 'The International Style' held at the Museum of Modern Art. Speakers and panelists include architects, architectural historians and critics, among them: Thomas Hall Beeby, Rosemarie Bletter, Henry Cobb, Alan Colquhoun, Arthur Drexler, Peter D. Eisenman, Kurt Forster, David Handlin, William Hewitt, Henry-Russell Hitchcock, Philip Cortelyou Johnson, Neil Levine, Gerald Mallon McCue, Richard Alan Meier, Lewis Mumford, Paul Marvin Rudolph, Joseph Rykwert, Helen Searing, Eduard Sekler, Peter Denham Smithson, Robert A. M. Stern and Bruno Zevi.
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, writings, printed material, interviews with artists, panel discussions, and lectures relating to Barbara Rose's research as an art historian.
Scope and Contents:
The Barbara Rose papers date from 1962 to circa 1969 and measure 1.4 linear feet. Papers include letters, interviews with artists, panel discussions, lectures, writings, and printed material relating to Barbara Rose's work as an art historian and critic.
Letters consist of responses to queries and questionnaires Rose and Irving Sandler sent to contemporary artists as research for writing projects. Questionnaires were sesnt in preparation for an article in Art in America on artists' sensibility of the 1960s, with responses from Robert Motherwell, Robert Craig Kauffman, Len Lye, Robert Morris, George Segal, David Hare, and others. A separate query asked sculptors for their assessment of contemporary sculptor's needs and the potential for patronage, and responses are found from Carl Andre, Charles Frazier, Robert Murray, Anthony Padovano, Ron Bladen, Roy Lichtenstein, Len Lye, Sol LeWitt, Heinz Mack, Otto Peine, Dan Flavin, and Donald Judd.
Interviews conducted by Rose between 1965 and circa 1969 are found with Richard Bellamy, Leo Castelli, James E. Davis, Henry Geldzahler, Ivan Karp, Lee Krasner, John Lefebre, John Myers, Donald Judd with Frank Stella, and Tom Wesselmann. All interviews include original sound recordings, and the Judd and Stella, Krasner, and Myers interviews include transcripts. Panel discussions and lectures include sound recordings and transcripts of seven events on a variety of contemporary art and architecture subjects held between 1962 and 1968. Sound recordings are present for five of the events on 10 sound tape reels, and transcripts are present for all events. Participants in the panel discussions and lectures include Barbara Rose, Ronald Davis, Dan Flavin, Robert Kauffman, John Harvey McCracken, Friedel Dzubas, Ansel Adams, Arthur Bierman, Kenneth Rexroth, Edward Taylor, Ernst Karl Mundt, John Bowles, Roy Dean De Forest, Seymour Locks, Walter Hopps, Mark Di Suvero, Donald Judd, Robert Morris, Kynaston McShine, Walter Darby Bannard, Donald Judd, Larry Poons, Robert Rauschenberg, Richard Meier, Paul Rudolph, Claes Oldenburg, and Robert Murray.
Writings include photocopied typescripts of "Myth, Symbol, or Me," by Emily Wasserman and "Excerpts from a Work Journal on Flying Sculpture," by Charles Frazier. Printed material consists of two copies of the premiere issue of the 57th Street Review, from Nov. 15, 1966.
This collection is arranged as 4 series.
Series 1: Letters (0.2 linear feet; Box 1)
Series 2: Interviews (0.6 linear feet; Box 1)
Series 3: Panel Discussions and Lectures (0.5 linear feet; Boxes 1-2)
Series 4: Writings and Printed Material (0.1 linear feet; Box 2)
Biographical / Historical:
Barbara Rose is an American art historian and critic who has published widely in the field of modern American art. Born in 1938 in Washington, DC, Rose studied at the Sorbonne, Smith College, Barnard, and finally, Columbia University under Meyer Shapiro. Rose became immersed in the New York-based circle of modernist artists and curators in the late 1950s and early 1960s, and made her substantial contribution to the discourse on contemporary art with the insider's perspective this afforded her. In 1961, she married the painter Frank Stella and they had two children before their divorce in 1969.
Rose taught at Yale University, Sarah Lawrence, University of California at Irvine and San Diego, and the American University Art in Italy program, and was senior curator at the Museum of Fine Arts, Houston, from 1981-1985. A prolific writer, Rose is the author of American Art Since 1900 (1967), The Golden Age of Dutch Painting (1969), American Painting: The 20th Century (Skira, 1969), and monographs on the artists Magdalena Abankawicz, Helen Frankenthaler, Robert Rauschenberg, Alexander Liberman, Larry Rivers, and others, as well as dozens of exhibition catalog essays. She held editorial positions at Art in America, Vogue, Artforum, Partisan Review, and Journal of Art, and her writing has also appeared in Art International, Studio International, Arts Magazine, and ARTnews, among many others.
Barbara Rose papers, 1940-1993 (bulk 1960-1985) are located at The Getty Research Institute Special Collections.
Additional papers of Barbara Rose are held by The Getty Research Institute.
Donated 1971-1977 by Barbara Rose.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
The Barbara Rose papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Art historians -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
United States of America -- Florida -- Sarasota County -- Sarasota
Scope and Contents:
1 folder and 16 digital images. The folder includes worksheets and photocopies of articles.
Umbrella House is known for its architecture, melding the International Style and Frank Lloyd Wright's Usonian principles to produce a midcentury modern icon for a subtropical location. Architect Paul M. Rudolph was commissioned circa 1950 to build an affordable yet cutting edge residence that would promote a new housing development in Sarasota, Florida, on a small property lot. The style of this house and others came to be known as the Sarasota School of Architecture. The house was geometric and compact with a higher, secondary slatted roof that shaded the property and boosted air circulation. Landscaping was sparse, a single monkeypod tree and crushed native shell instead of grass that could withstand the climate, but the tomato crate wooden slats used for the iconic secondary "umbrella" roof were destroyed in 1966 by Hurricane Alma.
Several successive owners worked with preservation architect Greg Hall to restore the "umbrella" using aluminum and treated wood that conforms to current building codes and can withstand winds of 150 mph. Landscaping was refreshed by removing overgrowth, replacing paved walkways and the swimming pool deck, and adding a new cement and stucco privacy wall along a busy parkway, low enough so the distinctive roof can be seen by passing traffic. Areca palms form privacy screens on each side of the swimming pool, and facing benches are nearly encased in dwarf conifers. Royal Poinciana, Walter's viburnum, bromeliads, shrubby cardboard palms, ornamental grasses, dwarf podocarpus and a staghorn fern can be found in the minimalist landscape. In addition to the swimming pool there is a water feature pond with water jets and a gazebo comprised of a solid roof attached to the aluminum poles that hold up the umbrella roof.
Philip Hiss (former owner, 1950- ); Sommers family (former owners, 1955- ); Ross and Rachel Von Tilborg (former owners, 1969- ); Gary and Carol Stoller (former owners, 1997- ); Vince and Julie Ciulla (former owners, 2005- ); Paul Marvin Rudolph (1918-1997) (architect, 1953-1954); Greg Hall (preservation architect, 1997-2018); Richard Anderson (landscape designer, 2014- ).
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