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Paola Ferrario Color Photographs

Creator:
Ferrario, Paola  Search this
Extent:
0.1 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Color slides
Ektacolor supra ii (brand name) paper
Photographs
Slides (photographs)
Color prints (photographs)
Chromogenic color prints
Chromogenic processes
Place:
Elgin (Texas) -- 1990-2000
Guatemala -- 1990-2000
Taylor (Texas) -- 1990-2000
Texas -- 1990-2000
Date:
1989-1996
Summary:
Two color prints of industrial subjects in Elgin, Texas, and Taylor, Texas, 1995-1996; and 35mm color slide copies of 20" x 24" color prints: 12 from "Texas Cotton Towns series, 1995-1996, and 10 from "Guatemalan Altars" series, 1989-1996.
Scope and Contents:
Collection consists of color prints of industrial subjects in Elgin, Texas, and Taylor, Texas, 1995-1996 and color slide copies of 20" x 24" color prints.
Arrangement:
The collection is arranged into twp series.

Series 1: Color Prints

Series 2: Color Slides
Biographical / Historical:
Born in Rho (Milan) Italy in 1963. BFA, San Francisco Art Institute; M.F.A. in photography, Yale University 1988. Since then, she has completed projects in Italy, Guatemala, Turkey and the United States. She has received several awards and fellowships, including the Friends of Photography/Calumet Emerging Photographer award in 2000 and the Paul Taylor/Dorothea Lange Prize from Duke University in 2001, Puffin Foundation Grant in 2003, a Guggenheim Fellowship in Photography in 2004 and Harnish Visiting Fellowship at Smith College 2005–11 and 2016–17. Her work has been collected by the Museum of Modern Art in New York. Ferrario is the author of 19 Pictures, 22 Recipes 2012. She has published criticism in such publications as Art in America and Photograph magazine. She is represented by Rick Wester Fine Art in New York. Asssistant Professor of Photography, Rhode Island College, Providence.
Provenance:
Collection donated by Paola Ferrario, December 18, 1998 and June 26, 2002.
Restrictions:
Collection is open for research.
Rights:
Paola Ferrario retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Cotton -- 1990-2000 -- Texas  Search this
Industrial photography -- 1990-2000 -- Texas  Search this
Photography, Industrial -- 1990-2000 -- Texas  Search this
Color photography -- 1990-2000  Search this
Genre/Form:
Color slides -- 1990-2000
Ektacolor Supra II (brand name) paper
Photographs -- Color prints -- 20th century
Photographs -- 1980-2000
Slides (photographs) -- 1980-2000
Color prints (photographs)
Chromogenic color prints
Chromogenic processes
Citation:
Paola Ferrario Color Photographs, 1989-1996, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0699
See more items in:
Paola Ferrario Color Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0699

Arthur Brown Jr.

Alternate Title:
Portrait of Arthur Brown, Jr. (A study for the fresco at the California School of Fine Arts , San Francisco, now the San Francisco Art Institute)
Artist:
Diego Rivera, 8 Dec 1886 - 24 Nov 1957  Search this
Possibly:
Arthur Brown, Jr., 1874? - 1957  Search this
Medium:
Red and black chalk on Ingres d*Arches laid paper
Dimensions:
Sheet: 63cm x 47.8cm (24 13/16" x 18 13/16"), Accurate
Type:
Drawing
Date:
1931
Topic:
Costume\Headgear\Hat  Search this
Equipment\Smoking Implements\Cigarette  Search this
Arthur Brown, Jr.: Male  Search this
Arthur Brown, Jr.: Visual Arts\Architect  Search this
Portrait  Search this
Credit Line:
Owner: Legion of Honor, Fine Arts Museums of San Francisco
Object number:
1981.2.26 LH
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm499279b5e-fccb-48e8-b9b7-1f55f2a6ec03
EDAN-URL:
edanmdm:npg_1981.2.26_LH

Martha Dandridge Custis Washington

Artist:
Peale Family  Search this
Sitter:
Martha Dandridge Custis Washington, 2 Jun 1731 - 22 May 1802  Search this
Medium:
Watercolor on ivory
Dimensions:
3.9cm x 3cm (1 9/16" x 1 3/16"), Sight
Type:
Painting
Date:
after 1796
Topic:
Costume\Outerwear\Shawl  Search this
Costume\Headgear\Hat\Bonnet  Search this
Miniature  Search this
Martha Dandridge Custis Washington: Female  Search this
Martha Dandridge Custis Washington: Politics and Government\First Lady\First Lady of US  Search this
Portrait  Search this
Credit Line:
Owner: San Francisco Art Institute
Object number:
CA210038
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm483221350-99f0-4ea4-8d9c-f4b077cf1fde
EDAN-URL:
edanmdm:npg_CA210038

George Washington

Artist:
Peale Family  Search this
Sitter:
George Washington, 22 Feb 1732 - 14 Dec 1799  Search this
Medium:
Watercolor on ivory
Dimensions:
3.8cm x 3cm (1 1/2" x 1 3/16"), Sight
Type:
Painting
Date:
after 1777
Topic:
Miniature  Search this
George Washington: Male  Search this
George Washington: Military\Army\Officer\Revolution  Search this
George Washington: Politics and Government\Statesman\Colonial Statesman  Search this
George Washington: Natural Resources\Agriculturist\Farmer  Search this
George Washington: Military\Army\Officer\General  Search this
George Washington: Politics and Government\President of US  Search this
George Washington: Science and Technology\Engineer\Surveyor  Search this
George Washington: Congressional Gold Medal  Search this
Portrait  Search this
Credit Line:
Owner: San Francisco Art Institute
Object number:
CA210037
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4ddcfc5fa-5384-4d0b-8c0b-459a549e5c9d
EDAN-URL:
edanmdm:npg_CA210037

Alan R. Solomon papers, 1907-1970, bulk 1944-1970

Creator:
Solomon, Alan R.  Search this
Subject:
Castelli, Leo  Search this
Louis, Morris  Search this
Segal, George  Search this
Fahlström, Öyvind  Search this
Poons, Larry  Search this
Duchamp, Marcel  Search this
Bontecou, Lee  Search this
Picasso, Pablo  Search this
Provinciali, Michele  Search this
Reed, Lou  Search this
Lichtenstein, Roy  Search this
Mulas, Ugo  Search this
Sonnabend, Ileana  Search this
Rosenquist, James  Search this
Sabol, Audrey  Search this
Grisi, Laura  Search this
Noland, Kenneth  Search this
Scull, Ethel  Search this
MacElroy, Robert R.  Search this
Namuth, Hans  Search this
Newman, Barnett  Search this
Finkelstein, Nat  Search this
Stella, Frank  Search this
Sisler, Mary  Search this
Greenberg, Jeanine  Search this
Oldenburg, Patty  Search this
Morris, Robert  Search this
Scull, Robert C.  Search this
Hay, Alex  Search this
Dine, Jim  Search this
Kron, Joan  Search this
Chamberlain, John  Search this
Greenberg, Clement  Search this
Oldenburg, Claes  Search this
Frankenthaler, Helen  Search this
Paxton, Steve  Search this
Moore, Peter  Search this
Whitman, Robert  Search this
Novick, Elizabeth  Search this
Rauschenberg, Robert  Search this
Redon, Odilon  Search this
Schute, Terry  Search this
Warhol, Andy  Search this
Hay, Deborah  Search this
Rainier, Yvonne  Search this
Childs, Lucinda  Search this
Johns, Jasper  Search this
Dunn, Judith  Search this
Leo Castelli Gallery  Search this
Expo 67  Search this
Pasadena Art Museum  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Albright-Knox Art Gallery  Search this
Art Gallery of Ontario  Search this
Velvet Underground  Search this
Biennale di Venezia  Search this
Artforum  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Jewish Museum (New York, N.Y.)  Search this
University of California  Search this
Cornell University.  Search this
San Francisco Art Institute  Search this
Centro de Artes Visuales  Search this
Los Once  Search this
Harvard University  Search this
Type:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Topic:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art historians -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)7165
(DSI-AAA_SIRISBib)209301
AAA_collcode_soloalan
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209301
Online Media:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
Art dealers -- France -- Paris  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Art galleries, Commercial -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974 digital asset number 1
Online Media:

Arnold Herstand & Co. records and Arnold Herstand papers, 1927-1995

Creator:
Arnold Herstand & Company  Search this
Subject:
Herstand, Arnold  Search this
Minneapolis College of Art and Design  Search this
San Francisco Art Institute  Search this
Type:
Scrapbooks
Photographs
Lectures
Video recordings
Topic:
Works of art  Search this
College administrators  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Record number:
(DSI-AAA_CollID)6112
(DSI-AAA_SIRISBib)216316
AAA_collcode_arnohers
Theme:
Art Theory and Historiography
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216316
Online Media:

Hildreth Meière papers

Creator:
Meiere, M. Hildreth, d. 1961  Search this
Names:
Exposition internationale (1937 : Paris, France)  Search this
New York World's Fair (1939-1940)  Search this
Peter A. Juley & Son  Search this
United States. Navy  Search this
Abbott, Berenice, 1898-1991  Search this
Dunn, Louise Meière  Search this
Extent:
27.3 Linear feet
0.068 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1901-2011
bulk 1911-1960
Summary:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.
Scope and Contents:
The papers of Hildreth Meière measure 27.3 linear feet and 0.068 GB and date from 1901 to 2011, with the bulk of material dating from 1911 to 1960. The collection documents Meière's life and travels, and her long and prolific career as an architectural muralist through biographical material, correspondence, writings, thirteen diaries, files regarding her war relief work during the Spanish Civil War and World War II, printed and digital materials, extensive photographs and slides, eight sketchbooks, and two videocassettes and 93 reels of motion picture film documenting her travels, her volunteer efforts in Spain following the civil war, artwork, and home movies.

Biographical material includes an autobiographical narrative written by Meière, her many awards and certificates, membership information, passports, her U.S. Navy service records from World War I, documentation of her brief marriage and family genealogy, obituaries, and memorial service documentation. Also found are extensive writings and research conducted by Meière's daughter, Louise Meière Dunn, which include a complete list of Meière's commissions, detailed biographical narratives, and records of Meière's works held elsewhere.

The papers contain Meière's personal and family correspondence, travel correspondence, and business correspondence regarding professional activities. Much of the correspondence with family and friends was written during Meière's extensive travels over the world. Both family and travel correspondence have extensive indexes, summaries, and in some cases, transcripts prepared by Meière's daughter, Louise Meière Dunn. Some of the indexes, summaries and transcripts are digital. Writings include poetry and diaries kept during childhood and school years, travel diaries, essays and talks written about Meière's work, writings Meière prepared for committees of the National Mural Painters Association, and detailed travelogues of her trips to Constantinople and the Balkans in 1933, to Russia in 1936, her "Grand Tour" to Australia, Southeast Asia, India, Africa, and Europe in 1952-1953, and her "Holy Land" tour of the Middle East in 1954.

Civilian War Service Records document Meière's efforts at war relief organization during and after the Spanish Civil War and during World War II. The Spanish Civil War files include extensive photographs provided by the Spanish government as well as three motion picture films documenting refugees and damaged architecture and public artwork shot by Meière during a trip sponsored by Franco's government. World War II activities concern Meière's efforts to organize artists in the United States to design and execute murals and other works of public art at military facilities around the U.S.

Travel records include maps, ephemera, slides, and 83 motion picture films taken on trips abroad between 1933 and 1958. Trips include Eastern and Western Europe, the Mediterranean Region and the Middle East, South America, Mexico and Guatemala, India, Sub-Saharan Africa, Southeast Asia, Australia, New Zealand, Scandinavia, and the UK. The motion picture films are mostly shot in Kodachrome color and many contain intertitles prepared by Meière to identify locations for travel lectures.

Printed materials consist primarily of clippings and publications that reference Meière's work, contain profiles of her, or contain published writings by her. A single published educational film is also found, given to her by an Australian filmmaker friend. Additional photographs, digital photographs and moving images include personal photographs of Meière, with portraits by Peter A. Juley and Sons and Berenice Abbott, photographs of many of her commissioned works, and a few photographs of artwork by others. Home movies show Meière with friends in 1926 and 1940. Among the photographic documentation of artworks by Meière and others are motion picture films of the 1939 New York World's Fair, the D.C. Municipal Building Frieze, and the 1937 Paris Fair; also found are 311 lantern slides and 201 glass copy negatives of her own completed works as well as murals she documented while traveling, notably murals in Norway and Oberammergau, Bavaria, taken in the 1930s.

Eight sketchbooks date to her early years as an art student and artist and include many figure studies, landscapes, and theatrical sketches made at home and abroad.
Arrangement:
This collection is arranged in 8 series. Indexes, summaries, and transcripts prepared by Louise Meière Dunn that relate directly to archival materials in the collection are found throughout the collection with the material they describe. These indices are particularly rich in Series 2, Correspondence.

Series 1: Biographical Material, 1915-2003 (0.6 linear feet; Boxes 1, 14, OV18)

Series 2: Correspondence, 1901-2011 (3 linear feet; Boxes 1-4, RD19, 0.038 GB; ER01-ER03)

Series 3: Writings, 1904-1960 (1.3 linear feet; Boxes 4-5)

Series 4: Civilian War Service Records, 1938-2006 (1.3 linear feet; Boxes 5-6, 15, FC 28-30)

Series 5: Travel Records, 1933-1958 (12.8 linear feet; Boxes 6-10, 15, OV18, FC 31-111)

Series 6: Printed Material, 1913-1998 (2.1 linear feet; Boxes 10-12, 15, FC 112)

Series 7: Photographs and Moving Images, 1915-1966 (5.8 linear feet; Boxes 12-13, 16, 20-27, FC 17, 113-127, 0.029 GB; ER04)

Series 8: Sketchbooks, 1911-1922 (0.4 linear feet; Box 13)
Biographical / Historical:
Hildreth Meière (1892-1961) was born in Flushing, New York, and had a prolific career from 1921-1961 as an architectural muralist working primarily in an Art Deco style. Meière painted murals and designed for various mediums including mosaic, metal, and stained glass. In 1956 the American Institute of Architects awarded Meière their Fine Arts Medal.

Meière was educated at New York's Convent of the Sacred Heart, Manhattanville, the Art Students League in New York, the California School of Fine Arts (now San Francisco Art Institute), and the School of the Art Institute of Chicago, in addition to pursuing studies in Italy. Her major commissions include the Nebraska State Capitol at Lincoln, the National Academy of Sciences, the Resurrection Chapel of the National Cathedral in Washington, D.C. In New York, she designed the Art Deco plaques on the exterior wall of Radio City Music Hall; created mosaic interiors for the Irving Trust Building at 1 Wall Street; and provided ecclesiastical decorations for St. Patrick's Cathedral, St. Bartholomew's Episcopal Church, Temple Emanu-El, and elsewhere. She also created murals for the Chicago 1933 Century of Progress Fair, and the 1939 New York World's Fair.

She was also an active officer in the Art Students League and the National Society of Mural Painters. Some of her most inspired collaborations were with the architect Bertram Goodhue in the 1920s, and only his sudden death in 1924 put an end to them, although some projects were finished with the successor firm.

Meière died in 1961 at the age of 68. Her work is remembered in several major publications, including The Art Deco Murals of Hildreth Meière by Catherine Coleman Brawer and Kathleen Murphy Skolnik, with photographs by Meière's granddaughter, Hildreth Meière Dunn, published in 2014; and the catalog of the 2009 exhibition at St. Bonaventure University, curated by Brawer and photographed by Dunn, entitled Walls Speak: the Narrative Art of Hildreth Meière.
Provenance:
A majority of the collection placed on deposit 2001 by Louise Meière Dunn, daughter of Hildreth Meière. The collection was donated incrementally by Dunn through 2012. Donations occurred 2001-2007, and again in 2010-2012.
Restrictions:
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Hildreth Meière 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.
Topic:
War relief  Search this
Travel  Search this
Painters -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
World War I, 1914-1918  Search this
Women artists  Search this
Mosaicists -- New York (State) -- New York  Search this
Art commissions  Search this
Motion pictures (visual works)  Search this
Genre/Form:
Slides (photographs)
Transcripts
Video recordings
Photographs
Poetry
Diaries
Sketchbooks
Citation:
Hildreth Meière papers, 1901-2011, bulk 1911-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meiemari
See more items in:
Hildreth Meière papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meiemari
Online Media:

Alan R. Solomon papers

Creator:
Solomon, Alan R., 1920-1970  Search this
Names:
Albright-Knox Art Gallery  Search this
Amsterdam (Netherlands). Stedelijk Museum  Search this
Art Gallery of Ontario  Search this
Artforum  Search this
Biennale di Venezia  Search this
Centro de Artes Visuales (Asunción, Paraguay)  Search this
Cornell University. -- Faculty  Search this
Expo 67 (Montréal, Québec)  Search this
Harvard University -- Students  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Jewish Museum (New York, N.Y.)  Search this
Leo Castelli Gallery  Search this
Los Once (Artists' group)  Search this
Pasadena Art Museum  Search this
San Francisco Art Institute  Search this
University of California (System)  Search this
Velvet Underground (Musical group)  Search this
Bontecou, Lee, 1931-  Search this
Castelli, Leo  Search this
Chamberlain, John, 1927-2011  Search this
Childs, Lucinda  Search this
Dine, Jim, 1935-  Search this
Duchamp, Marcel, 1887-1968  Search this
Dunn, Judith  Search this
Fahlström, Öyvind, 1928-1976  Search this
Finkelstein, Nat  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Greenberg, Jeanine  Search this
Grisi, Laura  Search this
Hay, Alex  Search this
Hay, Deborah  Search this
Johns, Jasper, 1930-  Search this
Kron, Joan  Search this
Lichtenstein, Roy, 1923-1997  Search this
Louis, Morris, 1912-1962  Search this
MacElroy, Robert R.  Search this
Moore, Peter  Search this
Morris, Robert  Search this
Mulas, Ugo  Search this
Namuth, Hans  Search this
Newman, Barnett, 1905-1970  Search this
Noland, Kenneth, 1924-2010  Search this
Novick, Elizabeth  Search this
Oldenburg, Claes, 1929-  Search this
Oldenburg, Patty  Search this
Paxton, Steve  Search this
Picasso, Pablo, 1881-1973  Search this
Poons, Larry  Search this
Provinciali, Michele  Search this
Rainier, Yvonne  Search this
Rauschenberg, Robert, 1925-2008  Search this
Redon, Odilon, 1840-1916  Search this
Reed, Lou  Search this
Rosenquist, James, 1933-  Search this
Sabol, Audrey, 1922-  Search this
Schute, Terry  Search this
Scull, Ethel  Search this
Scull, Robert C.  Search this
Segal, George, 1924-2000  Search this
Sisler, Mary  Search this
Sonnabend, Ileana  Search this
Stella, Frank  Search this
Warhol, Andy, 1928-  Search this
Whitman, Robert  Search this
Extent:
9.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Transcripts
Photographs
Interviews
Lithographs
Place:
Italy -- Venice
Date:
1907-1970
bulk 1944-1970
Summary:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.
Scope and Contents:
The papers of New York art historian, museum director, curator, writer, and educator, Alan R. Solomon, measure 9.9 linear feet and date from 1907-1970, with the bulk of the material dating from 1944-1970. Through biographical material, correspondence, interview transcripts, writings and notes, teaching and study files, subject files, exhibition files, business records, printed material, and photographs, the collection documents Solomon's education, his early teaching appointments at Cornell University, and his subsequent direction of many diverse curatorial and research projects relating to contemporary American art, particularly the transition from Abstract Expressionism to later modern movements, and the thriving New York City art scene.

Biographical material includes résumés, an engagement book, and a monthly planning book from 1965, identification cards, and educational transcripts.

Correspondence documents Solomon's education at Harvard College and Harvard University, and his teaching appointments at Cornell University. Correspondence also provides some documentation of his involvement with museums and arts organizations, including the Jewish Museum, Stedlijk Museum, the San Francisco Art Institute, the University of California, and Centro de Artes Visuales; his submission of writings for publications including Artforum, Art International, and Konstrevy; and his relationships with artists and colleagues including Jim Dine, Joan Kron, Audrey Sabol, and Ileana Sonnabend. Also found is correspondence related to Solomon's work for Mary Sisler, who employed Solomon to sell her collection of artwork by Marcel Duchamp in the late 1960s.

One series comprises transcripts of interviews with many of the artists who were central to the transition from Abstract Expressionism to later modern movements that occurred in the 1950s and 1960s, such as Neo-Dada and Pop art. Artists represented in the interviews include Jim Dine, Helen Frankenthaler, Jasper Johns, Barnett Newman, Kenneth Noland, Claes Oldenburg, Robert Rauschenberg, Frank Stella, and Andy Warhol.

Solomon's writings include many of his essays for exhibition catalogs, magazines, and journals, and are in a combination of annotated manuscript and published formats. There are writings on Jim Dine, Barnett Newman, Robert Rauschenberg, and Jasper Johns, and on the new movements in theater and performance art of the 1960s. His writings also document the art history education which informed all of his later work, with the inclusion of papers written as a student and teacher, his honors thesis on Odilon Redon, and his dissertation on Pablo Picasso. This material is supplemented by notes, and teaching and study files, documenting courses taken and taught at Harvard and Cornell universities. Also found is the manuscript of the text for New York: The New Art Scene, accompanied by a partial published copy of the book and photographs by Ugo Mulas.

Solomon's subject files augment several of the other series, comprising material on various art related subjects and individual painters and sculptors, arranged alphabetically. Material found here includes printed matter documenting exhibitions and other events, scattered letters from artists, related writings, and photographs.

One series documents Solomon's involvement with the First New York Theater Rally, which he co-produced with Steve Paxton in 1965. This material includes a drawing each by Jim Dine and Alex Hay, pieces of a combine by Robert Rauschenberg, and photographs of the group including Dine, Hay, and Rauschenberg, as well as Lucinda Childs, Judith Dunn, Deborah Hay, Robert Morris, Claes Oldenburg, the Once Group, Steve Paxton, Yvonne Rainier, Alan Solomon, and Robert Whitman. The series includes multiple contact sheets of photos of First New York Theater Rally events, by Peter Moore, Elizabeth Novick, and Terry Schute.

Exhibition files document Solomon's role as an organizer and curator for some of his most well-known exhibitions, including American Painting Now (1967) for Expo '67 in Montreal; Andy Warhol (1966) at the Institute of Contemporary Art in Boston; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and Albright-Knox Gallery; the American exhibition at the 1964 Venice Biennale; Young Italians (1968) at the Institute of Contemporary Art; and Painting in New York 1944-1969, a major retrospective installed for the opening of the new Pasadena Art Museum in fall, 1969. Records include correspondence, lists and notes, financial records, printed material, and photographs of artists and installations, including a series by Ugo Mulas taken at the Venice Biennale.

Solomon's business records include lists, notes, contracts, expense forms, vouchers, purchase orders, and receipts. They provide scattered documentation of exhibition-related expenses and purchases of artwork, as well as Solomon's income from teaching appointments, lectures, honorariums, and writings. Amongst Solomon's general business records is an American Federation of Musicians agreement between the Institute of Contemporary Art and "Louis Reed," with booking agent Andy Warhol, for a performance by the Velvet Underground and Nico, performing as The Exploding Plastic Inevitable on October 29, 1966. This seemingly mundane item documents an event that accompanied Solomon's landmark Warhol exhibition of nearly forty iconic works, and the accompanying show by The Exploding Plastic Inevitable was hailed by the Boston Phoenix newspaper as one of the greatest concerts in Boston history.

Printed material includes announcements, catalogs, and posters for exhibitions and art related events, including two Jasper Johns lithographs for a 1960 exhibition at Galerie Rive Droite, and a 1963 exhibition at Leo Castelli Gallery. Also found are news clippings, press releases, and other publications.

Photographs are of Solomon, artists, friends and colleagues, exhibitions and other events, and artwork. They include snapshots of Solomon, and a series of photographs of him at various events and parties, many taken by Ugo Mulas, as well as a photo taken by Robert Rauschenberg of Ugo Mulas, Michele Provinciali, and Solomon. Additional photos by Ugo Mulas include some which were probably taken for New York: The New Art Scene, and a series of photos of Robert Rauschenberg and others at the Venice Biennale. Photos of artists include Lee Bontecou, John Chamberlain, Jim Dine, Marcel Duchamp, Öyvind Fahlström, Laura Grisi, Jasper Johns, Roy Lichtenstein, Morris Louis, Barnett Newman, Kenneth Noland, Claes and Patty Oldenburg, Larry Poons, James Rosenquist, George Segal, Frank Stella, and Andy Warhol and The Factory. Photos of others include Leo Castelli, Clement and Jeanine Greenberg, and Ethel and Robert Scull. Also found are photos of the exhibition Toward a New Abstraction (1963), at The Jewish Museum, photos of Venice, and photos of artwork by many of the above named, and other, artists. In addition to Ugo Mulas, photographers represented in this series include Nat Finkelstein, Robert R. McElroy, and Hans Namuth.
Arrangement:
The collection is arranged as eleven series.

Series 1: Biographical Material, 1938-1968 (5 folders; Box 1)

Series 2: Correspondence, 1930-1970 (0.66 linear feet; Box 1)

Series 3: Interviews, 1965-1969 (0.25 linear feet; Box 1)

Series 4: Writings and Notes, 1945-1969 (1.35 linear feet; Boxes 1-3, 11)

Series 5: Teaching and Study Files, 1944-1958 (0.25 linear feet; Box 3)

Series 6: Subject Files, 1907-1969 (2.92 linear feet; Boxes 3-6, 1, OV 12)

Series 7: First New York Theater Rally, 1963-1965 (0.15 linear feet; Boxes 6, 11)

Series 8: Exhibition Files, 1954-1969 (1.42 linear feet; Boxes 6-7, 11, OV 12)

Series 9: Business Records, 1945-1970 (0.3 linear feet; Boxes 7-8)

Series 10: Printed Material, 1914-1970 (0.8 linear feet; Boxes 8-9, OV 12)

Series 11: Photographs, circa 1951-circa 1970 (1.7 linear feet; Boxes 9-11, OV 13)
Biographical / Historical:
New York art historian, museum director, art consultant, educator, writer, and curator, Alan R. Solomon (1920-1970), organized over two hundred exhibitions in the course of his career. He was known for his skill in exhibition design, and for bringing the perception and understanding of an art historian to the field of contemporary art.

Solomon was born in Quincy, Massachusetts, and educated at Harvard College and Harvard Graduate School. In 1953, during his 1952-1962 tenure with the Cornell University department of art history, he established the Andrew Dickson White Museum of art. Solomon served as the museum's first director until 1961, whilst simultaneously pursuing his doctorate, which he received from Harvard University in 1962.

In 1962 Solomon was hired by the Jewish Museum in New York, New York, and immediately began to take the institution in a more contemporary direction, mounting Robert Rauschenberg's first retrospective in 1963, and a major Jasper Johns retrospective in 1964. Also, in 1963, Solomon was appointed the United States Commissioner for the 1964 Venice Biennale. He was determined to show "the major new indigenous tendencies, the peculiarly America spirt of the art" in works by two consecutive generations of artists, including Jasper Johns, Morris Louis, Kenneth Noland, and Robert Rauschenberg. With this in mind, and given the inadequacy of the existing space to house the installation he envisaged, Solomon secured a verbal agreement from Biennale officials to approve additional space for the American exhibition in an annex at the former American Consulate. The agreement was never formalized, however, and a series of administrative problems and controversies over the eligibility of the American submissions threatened to undermine Solomon's efforts. Nevertheless, Robert Rauschenberg became the first American to take the Grand Prize for foreign artist, and the attention garnered by the American exhibition monopolized press coverage of the Biennale. In response, Solomon stated publicly that "it is acknowledged on every hand that New York has replaced Paris as the world art capital."

Solomon subsequently left the Jewish Museum, having engendered resistance to leading the museum in a more experimental direction, away from the traditional Jewish educational aspects of its mission. In the mid-sixties he worked as a consultant and writer for a National Educational Television series entitled "U. S. A. Artists," which drew on artist interviews, many conducted by Solomon. He also wrote the text for Ugo Mulas's classic photographic study, New York: The New Art Scene (1967: Holt Rinehart and Winston).

In 1966 Solomon was hired by the United States Information Agency to organize the United States contribution to the Canadian World Exhibition in Montreal, known as Expo '67. His stunning American Painting Now installation placed large scale paintings by twenty-three artists, including Jim Dine, Ellsworth Kelly, Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, and James Rosenquist, inside Buckminster Fuller's twenty-story Biosphere of Montreal.

Other important exhibitions organized by Solomon included Andy Warhol (1966) at the Institute of Contemporary Art, Boston, which was only the second of two exhibitions dedicated to the artist; Dine-Oldenburg-Segal (1967) at the Art Gallery of Ontario and the Albright-Knox Art Gallery; and Young Italians (1968) at the Institute of Contemporary Art.

Solomon was also interested in contemporary theater and organized the First New York Theater Rally with Steve Paxton in 1965, a series of performances which combined new dance and a revival of the Happenings of the early 1960s, in which Claes Oldenburg, Jim Dine and others were involved.

Following a six-week appointment as a senior lecturer at the University of California, Irvine, in spring 1968, Solomon became chairman of the University's art department and director of the art gallery. His last exhibition, Painting in New York, 1944-1969 (1969-1970), was held at the Pasadena Art Museum and closed in January 1970, just a few weeks before Solomon's sudden death at the age of forty-nine.
Provenance:
The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to the Archives of American Art in 1974 and 2007.
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 Alan R. Solomon 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.
Occupation:
Painters  Search this
Topic:
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Art historians -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Art -- History -- Study and teaching  Search this
Performance art  Search this
Art, Abstract -- United States  Search this
Art -- Exhibitions  Search this
Art -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Sculptors  Search this
Art, Modern -- 20th century -- United States  Search this
Educators -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Theater  Search this
Pop art  Search this
Museum directors -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Transcripts
Photographs
Interviews
Lithographs
Citation:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soloalan
See more items in:
Alan R. Solomon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-soloalan
Online Media:

Fletcher Benton papers

Creator:
Benton, Fletcher, 1931-  Search this
Names:
André Emmerich Gallery  Search this
Galerie Denino  Search this
Bury, Pol, 1922-2005  Search this
De Wilde, Dan  Search this
Finn, David  Search this
Jones, Lillian E.  Search this
Louchheim, Marlene  Search this
Lucie-Smith, Edward  Search this
Marquand, Ed  Search this
Neubert, George W.  Search this
Rickey, George  Search this
Sanders, Pieter  Search this
Tooker, Dan  Search this
Valentine, De Wain, 1936-  Search this
Wilke, Ulfert, 1907-1987  Search this
Extent:
8.7 Linear feet
1.47 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Drawings
Video recordings
Transcripts
Sound recordings
Photographs
Christmas cards
Date:
1934-2014
Summary:
The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career as a sculptor with international presence through certificates, personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, and photographs, sound and video recordings, and motion picture film documenting his work and career.
Scope and Contents:
The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career through personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, photographs, sound and video recordings motion picture film, some of which also appears in digitized form.

Biographical Materials include personal photographs, legal documents related to a court case with book designer Ed Marquand, biographical texts, interview transcripts, and a home video made by the artist. Correspondence is with other artists, friends, galleries, museums and other institutions, including George W. Neubert, André Emmerich Gallery, Pieter Sanders, Pol Bury, George Rickey, Ulfert Wilke, Marlene Louchheim, DeWain Valentine, Lillian E. Jones, and Edward Lucie-Smith. Interviews include sound recordings of interviews with Benton by academics and journalists, including Edward Lucie-Smith, Dan Tooker, and Dan De Wilde.

Exhibition and Commission Files consist of correspondence with galleries, museums and commission patrons; financial records; shipping and subcontracting documentation; motion picture film, video, and sound recordings related to exhibitions and installations; and planning and design materials. Series includes a significant amount of oversized drawings and plans for site-specific work. There is a large volume documentation from the Folded Circle-Arc commission by Stanley Consultants, Inc. in Muscatine, Iowa; the California/International Arts Foundation Traveling Sculpture Exhibition; Double Folded Circle Ring in Brussels and Double Circle Folded by Cedars Sinai Medical Center in Los Angeles.

Printed Materials include news clippings related to Benton's career, as well as brochures, exhibition catalogs, posters and other printed materials related to exhibitions and commissions. Broadcast materials include television news footage, radio and television interviews, documentaries, and promotional materials made by galleries and other cultural institutions.

Photographic and Moving Image Materials include art-related images showing Benton in his studio and images of exhibitions, installations and inaugurations. Also found are still photographs and motion picture films of artworks, including paintings, sculptures, and kinetic drawings, and a series of photographs of sculptures taken by David Finn.

Artwork consists of an editioned art Christmas card created by Benton for Galeria Bonino in New York from 1969. An American Artist Moving Image Materials consist of 13 videocassettes (VHS) which document the production process of the documentaryFletcher Benton: An American Artist by Morgan Cavett. There is footage from interviews with Benton and with curator George W. Neubert, footage of San Francisco with comments from Benton about his time there, interviews with the artist's studio assistants, images of his studio in Dore street and a couple of almost finished rough versions of the documentary.
Arrangement:
This collection is arranged as nine series.

Series 1: Biographical Material (0.3 linear feet; boxes 1, 9)

Series 2: Correspondence (1 linear foot; boxes 1, 2, OV 10)

Series 3: Interviews (0.3 linear feet; box 2)

Series 4: Exhibition and Commission Files (2 linear feet, 0.50 GB; boxes 2-4, OV 11-13, RD 14, FC 15, ER01)

Series 5: Printed Materials (2.3 linear feet; boxes 4-6, OV 10)

Series 6: Broadcast Materials (1.1 linear foot; boxes 6-7)

Series 7: Photographic and Moving Image Materials (0.5 linear feet, 0.97 GB; boxes 7, 9, FC 16-17, ER02)

Series 8: Artwork (1 item; box 7)

Series 9: -- An American Artist -- Video Recordings (0.6 linear feet; boxes 7-8)
Biographical / Historical:
Fletcher Benton was born in Jackson, Ohio in 1931 to Fletcher and Nell Cavett Benton and was the oldest of three children. Benton graduated from Jackson High School in 1949. After serving in the Navy he graduated from Miami University (Oxford, Ohio) in 1956 and moved to San Francisco, where he started working as an instructor at the California College of Arts and Crafts in 1959. He was in San Francisco during the flourishing of the Beat generation, where he had a studio in the North beach area and exhibited at coffee house galleries.

After travelling around Europe in 1960, Benton moved to New York City where he tried to make his living through painting and teaching privately. During those years he was supported by Jackson's local arts patron and family friend, Lillian E. Jones. In 1960 he had his first solo exhibition at Gump's gallery in San Francisco, but his work was taken down after one day because it was considered obscene for including female nudes. He returned to San Francisco in late 1961.

In 1966 Fletcher started teaching at the San Francisco Art Institute and established himself as a primary figure of American kinetic art. In 1966, Peter Selz included his work in the exhibition Directions in Kinetic Sculpture at the University Art Gallery in Berkeley, CA. During the exhibition Benton met the artists Pol Bury and George Rickey with whom he became friends. The exhibition, along with an article "The Movement Movement" that appeared in Time magazine the same year, established Benton's reputation as a significant American Kinetic artist. He also started teaching at the California State University in San José in 1967 where he continued working until 1986.

By 1974 Benton abandoned kinetic art to continue exploring sculpture in three dimensions in a style that became known as "new constructivism." The artworks were conceived in the series Folded Circles and Folded Square Alphabets and were produced in bronze, aluminum and steel. It was also during the 1970s that he started doing large-scale commissions such as the 1977 IBM commission.

Between 1981 and 1984 Benton constructed his studio in Dore Street in the Market district of San Francisco where he continues to work today. During the 1980s Benton started his Balanced/Unbalanced series, which introduced the idea of gravity using geometric forms in different formats and sizes.

From 1984 he began to show more work in Europe, especially in Germany, where in 1993 he got a major commission to create a colossal public sculpture in Cologne entitled Steel Watercolor Triangle Ring. It was also in Germany where Benton encountered the work of Wassily Kandinsky and Kazimir Malevich, and he began work on his Construct Relief series in reponse, which he dedicated to Kandinsky. These geometric constructions are flat, canvas-like steel structures that combine features of painting and sculpture. As the series evolved, the work became more like painting, constructed to hang on the wall without a back piece, so they seem to be floating in the space.

Benton continues to live and work in San Francisco and is represented by multiple galleries in the United States and Germany.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Fletcher Benton conducted by Paul J. Karlstrom, 1989 May 2-4 is available on the Archives of American Art website.
Provenance:
Donated 2005-2006 and 2014 by Fletcher Benton. Benton's wife, Bobbie Benton, organized the material by subject matter and date.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
Rights:
The Fletcher Benton 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.
Occupation:
Sculptors -- California -- San Francisco  Search this
Topic:
Artists' studios -- Photographs  Search this
Painters -- California -- San Francisco  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Drawings
Video recordings
Transcripts
Sound recordings
Photographs
Christmas cards
Citation:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bentflet
See more items in:
Fletcher Benton papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bentflet

Arnold Herstand & Co. records and Arnold Herstand papers

Creator:
Arnold Herstand & Company  Search this
Names:
Minneapolis College of Art and Design -- Faculty  Search this
San Francisco Art Institute -- Faculty  Search this
Herstand, Arnold, 1925-1989  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Lectures
Video recordings
Date:
1927-1995
Summary:
The Arnold Herstand & Co. records and Arnold Herstand papers measure 3.8 linear feet and date from 1927-1995. The papers document Herstand's career as a university administrator, art dealer, and artist. The collection consists of biographical material; personal and professional correspondence; artist files of the Arnold Herstand & Co. gallery; lectures and writings by Herstand; artwork by Arnold Herstand and other artists; photographs of Herstand, friends, family, and Herstand's artwork; and printed material relating to the Arnold Herstand & Co. gallery and Herstand's artistic career. Also included are video recordings.
Scope and Content Note:
The Arnold Herstand & Co. records and Arnold Herstand papers measure 3.8 linear feet and date from 1927-1995. The papers document Herstand's career as a university administrator, art dealer, and artist. The collection consists of biographical material; personal and professional correspondence; artist files of the Arnold Herstand & Co. gallery; lectures and writings by Herstand; artwork by Arnold Herstand and other artists; photographs of Herstand, friends, family, and Herstand's artwork; and printed material relating to the Arnold Herstand & Co. gallery and Herstand's artistic career. Also included are video recordings.

Herstand's personal life is reflected through correspondence which includes letters between Herstand and his friends and family while stationed in Europe during World War II. Herstand's career as a university administrator is also well represented in the collection through correspondence, printed material including a poster and clippings, writings and lectures on art and education among other materials. The activities of the Arnold Herstand & Co. gallery (1983 to 1992) are well documented through artist files. These files include biographical notes on the artists, checklists, correspondence, price lists and printed material. The collection also offers a rich resource on Herstand's artistic activities through biographical and printed material including clippings, scrapbook, exhibition files, and artwork.
Arrangement:
The collection is arranged into 8 series:

Series 1: Biographical Material, 1927-1989 (Boxes 1, 5, OV 6; 0.2 linear feet)

Series 2: Correspondence, 1944-1991 (Box 1; 0.6 linear feet)

Series 3: Lectures, Addresses, and Writings, 1960-1981 (Boxes 1-2; 4 folders)

Series 4: Artist Files, 1977-1995 (Boxes 2-3, 5, OV 6; 1.6 linear feet)

Series 5: Printed Material, 1940-1992 (Boxes 3, 5, OV 6; 0.4 linear feet)

Series 6: Artwork, 1948-1987 (Boxes 4-5; 0.2 linear feet)

Series 7: Photographs, 1949-1988 (Box 4; 3 folders)

Series 8: Video Recordings, 1988-1989 (Box 4; 3 items)
Historical Note:
Arnold Herstand (1925-1989), university administrator, art dealer, and painter, opened the Arnold Herstand & Co. gallery (1983-1992) in New York City. Herstand was born in Cleveland, Ohio. After graduating from high school in 1943, he was inducted into the army and served in Europe during World War II. Under the G. I. Bill, he studied painting in the studio of Fernand Léger in Paris from 1948 to 1949. Herstand received his B.F.A. from Yale University in 1952 and his M. A. from Columbia University in 1954. He was also a lecturer at City College of New York from 1952 to 1954. In 1952 Herstand joined the Fine Arts faculty at Colgate University, where he remained until 1963.

From 1963 to 1969, Herstand served as Director of the Minneapolis School of Art, where he met and married his second wife, Nancy McDermott Herstand. From 1969 to 1974, he served as President of the Minneapolis College of Art and Design (formerly known as Minneapolis School of Art). In 1974, Herstand accepted the position of President and Chief Executive Officer of the San Francisco Art Institute. He served there until 1976, when he resigned due to student and faculty discontent about his policies.

Throughout Herstand's career as a university administrator and educator, he continued his artistic activities and exhibited his paintings and prints in museums and galleries both in the United States and Europe. He held a solo exhibition at the Il Camino Art Gallery in Rome in 1962, and participated in many faculty shows while at the Minneapolis School of Art and Colgate University, as well as in numerous regional shows. Herstand gave lectures and interviews and published articles on education and art which appeared in publications such as Art Journal, Art News, Eastern Arts Quarterly, and Journal of General Education, among others. He also served on the Board of Directors for The Ben and Abby Grey Foundation and for the National Association of Schools of Art. Herstand was a member of many associations including the American Association of University Professors and the College Art Association.

In 1983, Herstand founded the Arnold Herstand & Co. gallery located at Fifty-Seventh Street in New York. Among the artists he represented were Pol Bury, Gonzalo Fonseca, Katsura Funakoshi, Jenny Lee, Ann McCoy, and Paul Rotterdam. The gallery also exhibited the works of many international artists including Henri Cartier-Bresson, Jean Dubuffet, Pablo Gargallo, Rene Magritte, Roberto Matta, Isamu Noguchi, Pablo Picasso, and Joaquín Torres-García. The gallery was particularly strong in exhibiting modern European artists. After Herstand's death in 1989, his widow Nancy McDermott Herstand assumed the presidency of Arnold Herstand & Co. The gallery closed in 1992.
Provenance:
Nancy McDermott Herstand donated the gallery records of Arnold Herstand & Co. in 1995, and donated Arnold Herstand's personal papers in 1997.
Restrictions:
Use of original papers requires an appointment. Use of archival video recordings with no duplicate access copy requires advance notice.
Rights:
The Arnold Herstand & Co. records and Arnold Herstand 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.
Topic:
Works of art  Search this
College administrators  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Photographs
Lectures
Video recordings
Citation:
Arnold Herstand & Co. records and Arnold Herstand papers, 1927-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arnohers
See more items in:
Arnold Herstand & Co. records and Arnold Herstand papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-arnohers

David S. Rubin papers

Creator:
Rubin, David S., 1949-  Search this
Names:
Alf, Martha, 1930-  Search this
Baziotes, William, 1912-1963  Search this
Lloyd, Gary, 1943-  Search this
Mesches, Arnold, 1923-  Search this
Thiebaud, Wayne  Search this
Extent:
23 Linear feet
57.68 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Video recordings
Date:
1960-2017
Summary:
The papers of curator and art critic David S. Rubin measure 23 linear feet and 57.68 gigabytes and date from 1960 to 2017. The papers are comprised of biographical materials, interviews, correspondence, writing projects and notes, artists' files, exhibition files, professional files, subject and research files, printed materials, and photographic materials documenting Rubin's work in California, Arizona, and other locations throughout the United States.
Scope and Contents:
The papers of curator and art critic David S. Rubin measure 23 linear feet and 57.68 gigabytes and date from 1960 to 2017. The papers are comprised of biographical materials, interviews, correspondence, writing projects and notes, artists' files, exhibition files, professional files, subject and research files, printed materials, and photographic materials documenting Rubin's work in California, Arizona, and other locations throughout the United States.

Biographical materials include 16 appointment books, 2 guest books, identification cards, curriculum vitae, and student records from UCLA. Interviews are with Rubin regarding William Baziotes, Rubin with Gary Lloyd and Wayne Thiebaud, and an interview about the exhibition Chelsea Rising. Mixed personal and professional correspondence is with curators, colleagues, and friends regarding exhibitions, symposiums and panels, and Rubin's job searches.

Writing projects and notes consist of student work including Rubin's unfinished Ph.D. dissertation, class notes, and student papers; articles and essays; a book project; lists; and lectures. Artist files contain printed materials relating to the artists' careers, and notes regarding exhibitions and artist biographical information. Files for exhibitions contain records for It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art (1995) and other major exhibitions curated by Rubin. Professional files consist of records for employment, committees, consulting, and other professional activities. Subject and research files contain research material and notes on topics of interest and exhibition themes.

Printed materials include clippings, flyers, exhibition announcements and catalogs, and other material relating to Rubin and exhibitions. Photographic materials consist of photographs and slides of Rubin by Martha Alf, Arnold Mesches, and Bruce Houston; photographs by Rubin of Alf and other artists; events; friends; and works of art.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Materials, 1969-2011 (Box 1; 0.7 linear feet)

Series 2: Interviews, 1982-circa 2001 (Boxes 1-2; 0.4 linear feet)

Series 3: Correspondence, 1971-2017 (Boxes 2-5, OV 28; 3.0 linear feet)

Series 4: Writing Projects and Notes, 1970-2010 (Boxes 5-6, 27; 1.0 linear feet)

Series 5: Artist Files, 1960-2015 (Boxes 6-20, 27, OV 28; 15.0 linear feet)

Series 6: Exhibition Files, 1980-2008 (Boxes 21-23, 27; 2.5 linear feet)

Series 7: Professional Files, 1976-2009 (Boxes 23-24; 1.0 linear feet)

Series 8: Subject and Research Files, 1980-2002 (Boxes 24-25; 0.8 linear feet)

Series 9: Printed Materials, circa 1975-circa 2008 (Boxes 25, 27; 0.4 linear feet)

Series 10: Photographic Materials, 1979-2010 (Boxes 25-26; 1.0 linear feet)
Biographical / Historical:
David S. Rubin (1949- ) is a curator and art critic in Los Angeles, California. Rubin has curated exhibitions throughout the United States, primarily in Southern California, New Orleans, Louisiana, Cleveland, Ohio, and San Antonio, Texas.

Rubin received his Bachelor of Arts degree in philosophy in 1972 from the University of California in Los Angeles. He went on to earn a Master of Arts in art history from Harvard University. He began researching automatism in New York for a doctorate degree at Harvard but did not complete his dissertation. Rubin also attended the Museum Management Institute in 1989. He has been a curator at the San Francisco Art Institute, Albright College's Freedman Gallery, Museum of Contemporary Art in Cleveland, Phoenix Art Museum, Contemporary Arts Center in New Orleans, and the San Antonio Museum of Art. He has curated exhibitions, including It's Only Rock and Roll: Rock and Roll Currents in Contemporary Art (1995) and the controversial Old Glory: The American Flag in Contemporary Art (1994), throughout the United States, primarily in California. Rubin is also a prolific essayist on contemporary art.
Provenance:
The papers were donated by David S. Rubin in 2016 and 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies 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 Processing Manual Archives of American Art 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 museum curators -- California  Search this
Art critics -- California  Search this
Genre/Form:
Interviews
Sound recordings
Video recordings
Citation:
David S. Rubin papers, 1960-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rubidavi
See more items in:
David S. Rubin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rubidavi
Online Media:

Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
56.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2007
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 56.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.
Arrangement:
The collection is arranged as eight series:

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
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. Contact Reference Services for more information.
Rights:
The Lucy R. Lippard 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.
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism  Search this
Art critics  Search this
Minimal art  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Jay DeFeo papers

Creator:
DeFeo, Jay, 1929-1989  Search this
Names:
Berman, Shirley  Search this
Berman, Wallace, 1926-1976  Search this
Blum, Irving, 1930-  Search this
Conner, Bruce  Search this
Hedrick, Wally, 1928-2003  Search this
Lobdell, Frank, 1921-  Search this
McClure, Michael  Search this
Peterson, Margaret, 1903-  Search this
Remington, Deborah  Search this
Sinton, Nell, 1910-1997  Search this
Terrill, Ruth  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1940s-1970s
Summary:
The papers of artist Jay DeFeo measure 1.3 linear feet and date from circa 1940s to circa 1970s. The collection documents her career through biographical material, correspondence with friends, personal business records, writings, printed material, artwork, and photographs.
Scope and Contents:
The papers of artist Jay DeFeo measure 1.3 linear feet and date from circa 1940s to circa 1970s. The collection documents her career through biographical material, correspondence with friends, personal business records, writings, printed material, artwork, and photographs.

About half of the collection is made up of correspondence and photographs. DeFeo maintained ongoing communications with many artists, friends, and business associates. Notable correspondence is with Wallace and Shirley Berman, Irving Blum/Ferus Gallery, Bruce Conner, Frank Lobdell, Fred Martin, Michael McClure, Margaret Peterson, Deborah Remington, Ruth Terrill, and Eleanor (Nell) Sinton. The photographs document her adult years, although there are some as a teenager. DeFeo, her artist husband Wally Hedrick, and friends appear in many of the images. The remainder of the collection includes printed materials, exhibition information, some writings and some limited artwork. The collection is particularly rich in documentation on her artwork, The Rose.
Arrangement:
The collection is arranged as 7 series

Series 1: Biographical material, 1948-1969 (1 folder; Box 1)

Series 2: Correspondence, 1960-1970s (0.3 linear feet; Box 1)

Series 3: Writings, circa 1960s (3 folders; Box 1)

Series 4: Personal Business Records, 1964-1974 (2 folders; Box 1)

Series 5: Printed Material, circa 1950s-1970s (2 folders; Box 1, OV 3)

Series 6: Photographs, circa 1940s-1970s (0.4 linear feet; Box 1, OV 3)

Series 7: Artwork, circa 1950s-1960s (0.2 linear feet; Box 2)
Biographical / Historical:
Jay DeFeo (1929-1989) lived and worked in Northern California where she was a prominent figure in the San Francisco Bay Area art scene as a painter in the progressive art community. She identified her artistic style as expressionist and symbolist.

DeFeo was born in Hanover, New Hampshire, and was three years old when her family moved to the Bay Area. She attended the University of California Berkeley and earned an Associate's Degree in 1948, a B.A. in 1950 and a M.A. in Fine Arts in 1951. After earning the M.A. she took 18 months to travel in France, Spain, northern Africa, and Italy. She spent 6 months in Florence where she painted and produced her first important body of work. DeFeo returned to San Francisco at the end of her trip.

DeFeo married fellow artist Wally Hedrick in 1954. They settled in a large Victorian flat at 2322 Fillmore Street and actively participated in Beat counter culture. DeFeo and Hedrick counted many artists among their friends and colleagues, including musicians, painters, poets, and photographers. They threw large parties with hundreds of guests. DeFeo produced a range of works during her four-decade long career. She began working on her most celebrated and massive painting, The Rose, in the Fillmore flat.

In the mid-1960s, DeFeo began teaching at the San Francisco Art Institute. She and Wally Hedrick divorced in 1969, and she moved to Larkspur in Marin County to regroup from personal set-backs and the draining experience of working on The Rose. In 1980 she joined the art faculty at Mills College. She maintained personal and professional correspondences with many people, and her papers include letters about conservation efforts for The Rose.
Related Materials:
The Archives of American Art has an oral history interview with DeFeo conducted 1975 June 3-1976 January 23 by Paul Karlstrom for the Archives of America Art. An 83 page transcript is available online.

The Bancroft Library at the University of California, Berkeley holds some of DeFeo's archival materials.
Provenance:
Donated between 1975-1981 by Jay DeFeo.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Jay DeFeo 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.
Occupation:
Painters -- California -- San Francisco Bay Area  Search this
Topic:
Photography -- California -- San Francisco Bay Area  Search this
Photographers -- California -- San Francisco Bay Area  Search this
Women artists  Search this
Works of art  Search this
Photography -- California -- San Francisco  Search this
Genre/Form:
Photographs
Citation:
Jay DeFeo papers, circa 1940s-1970s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.defejay
See more items in:
Jay DeFeo papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-defejay
Online Media:

Sonia Gechtoff papers

Creator:
Gechtoff, Sonia, 1926-2018  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1950-1980
Summary:
The papers of abstract expressionist painter Sonia Gechtoff measure 0.4 linear feet and date from 1950 to 1980. The scattered papers include artwork, biographical material, correspondence, personal business records, photographs, printed material, and writings by Gechtoff.
Scope and Contents:
The papers of abstract expressionist painter Sonia Gechtoff measure 0.4 linear feet and date from 1950 to 1980. The scattered papers include artwork, biographical material, correspondence, personal business records, photographs, printed material, and writings by Gechtoff.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Sonia Gechtoff (1926-2018) was a painter and printmaker active in San Francisco, California, and New York City, New York.

Gechtoff was born in Philadelphia, Pennsylvania, and raised in San Francisco, California. Her parents, Ethel (Etya) and Leonid Gechtoff, were active in the art industry--her mother ran art galleries and her father was a successful painter. Gechtoff studied at the Pennsylvania Academy of the Fine Arts and, after graduation, moved to San Francisco where she became acquainted with Beat culture and continued her studies at the San Francisco Art Institute. Over the course of her career her style moved toward abstract expressionism. Her works were included at the Guggenheim Museum's Younger American Painters in 1954.

Gechtoff married artist Jim Kelly and together they moved to New York City in the late 1950s, where she continued to paint and was active in the New York art world. Additionally, Gechtoff taught at various institutions later in her career.

With Kelly, Sonia Gechtoff had two children, Susannah and Miles. She died in 2018 in New York City.
Provenance:
Sonia Gechtoff donated her papers to the Archives of American Art in 1980.
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 -- California -- San Francisco  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Women artists  Search this
Women painters  Search this
Citation:
Sonia Gechtoff papers, 1950-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gechsoni
See more items in:
Sonia Gechtoff papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gechsoni

Oral history interview with Richard Shaw [videorecording], 1998 April 3 and 6

Interviewee:
Shaw, Richard Blake, 1941 Sept. 12-  Search this
Interviewer:
Karlstrom, Paul J  Search this
Subject:
Braunstein, Ruth  Search this
Chanco, Pauletta  Search this
Hudson, Robert  Search this
Melchert, Jim  Search this
Braunstein/Quay Gallery  Search this
San Francisco Art Institute  Search this
Archives of American Art  Search this
Type:
Video recordings
Interviews
Place:
San Francisco Bay Area (Calif.)
Topic:
Ceramicists -- California -- Interviews  Search this
Pottery  Search this
Record number:
(DSI-AAA_CollID)13046
(DSI-AAA_SIRISBib)216429
AAA_collcode_shaw98
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216429

Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Jan Butterfield 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.
Topic:
Art historians -- California  Search this
Authors -- California -- San Francisco  Search this
Art critics -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buttjan

Hassel Smith : paintings 1937-1997 / edited by Petra Giloy-Hirtz, Paul J. Karlstrom, Susan Landauer

Author:
Smith, Hassel 1915-2007  Search this
Giloy-Hirtz, Petra  Search this
Karlstrom, Paul J  Search this
Landauer, Susan  Search this
Morgan, Robert C. 1943-  Search this
Selz, Peter 1919-  Search this
Temko, Allan  Search this
Subject:
Smith, Hassel 1915-2007 Criticism and interpretation  Search this
Physical description:
231 p. : ill. (some col.), ports. ; 32 cm
Type:
Books
Date:
2012
20th century
Topic:
Painting, Abstract  Search this
Call number:
ND237.S598 A4 2012
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1001272

Eleanor Dickinson Pentecostal Videotape and Audiotape Collection

Producer:
Dickinson, Eleanor, 1931-  Search this
Collector:
Community Life, Div. of, NMAH, SI  Search this
Interviewee:
Mayes, Harrison  Search this
Extent:
0.5 Cubic feet (2 boxes, 6 videotapes, 1 audiotape)
Type:
Collection descriptions
Archival materials
Videotapes
Audiotapes
Place:
Appalachian Region
Date:
1967-1977
Scope and Contents:
Videotapes of Pentecostal ceremonies, such as snake handling, laying on of hands, baptisms, foot washing, casting out of devils, dancing in ecstasy; a video interview with Brother Harrison Mayes at his home in Middleburg, Kentucky; and an audiotape of revival meetings.
Arrangement:
Collection is arranged in one series:

Series 1, Audiovisual
Biographical / Historical:
Eleanor Creekmore Dickinson, artist, produced several exhibits as well as a book on Pentecostal worship in the South entitled Revival! She documented Pentecostal and Baptist ceremonies using videotape, audiotape, line drawings and velvet painting.

Dickinson was born February 7, 1931, in Knoxville, Tennessee. She was educated at the University of Tennessee (B.A., Fine Art, 1952); the San Francisco Art Institute (painting and printmaking, 1961-1963); the Académie Grande Chaumière, Paris (drawing, 1971); the University of California at Berkeley (history, 1967 and 1981), and the California College of Arts and Crafts (Master of Fine Arts in Video, 1982). She began teaching at the California College of Arts and Crafts as Professor of Art in 1971.

She has had numerous solo and group exhibitions, has received grants in connection with her work, and is represented in more than a dozen public collections, including the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Library of Congress, and the Oakland Museum.

A resume and selected bibliography, compiled in 1986, are in the Archives Center's collection control files.
Related Materials:
Related artifacts in Division of Community Life, NMAH (see accessions 306082, 306787, 1981.0570, and 1978.0344); related materials in the SI Archives of American Art and the Library of Congress.
Provenance:
Collection donated by Eleanor Dickinson in 1980 and transferred to the Archives Center from the National Museum of American History Division of Community Life in 1986.
Restrictions:
Collection is open for research. No reference copies exist. Orginals are not accessable.
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.
Topic:
Baptists  Search this
Evangelistic work  Search this
Religion -- Videotapes  Search this
Religion and culture -- Videotapes  Search this
Foot washing (Rite)  Search this
Ecstatic dance  Search this
Imposition of hands  Search this
Foot -- Religious aspects  Search this
Revivals  Search this
Exorcism  Search this
Baptism  Search this
Snake cults (Holiness churches) -- Videotapes  Search this
Rites and ceremonies -- Videtoapes  Search this
Pentecostal churches  Search this
Genre/Form:
Videotapes
Audiotapes -- 1940-1980
Citation:
Eleanor Dickinson Pentecostal Videotape and Audiotape Collection, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0199
See more items in:
Eleanor Dickinson Pentecostal Videotape and Audiotape Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0199

Fred Martin papers

Creator:
Martin, Fred, 1927-  Search this
Names:
Anderson, Jeremy, 1921-1982  Search this
DeFeo, Jay, 1929-1989  Search this
Diebenkorn, Richard, 1922-1993  Search this
Francis, Sam, 1923-1994  Search this
Gechtoff, Sonia, 1926-2018  Search this
Haddad, Samuel, 1937-  Search this
Hedrick, Wally, 1928-2003  Search this
Majdrakoff, Ivan, 1927-  Search this
Marks, Royal S., 1929-  Search this
Park, David, 1911-1960  Search this
Richardson, Sam, 1934-  Search this
White, Joseph, 1938-  Search this
Extent:
0.4 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1949-1975
Scope and Contents:
Correspondence between Martin and Sam Haddad and Royal Marks of the Royal Marks Gallery, 1964-1972, and with many artists and people involved with the arts; manuscript, business and printed materials; catalogs and announcements; clippings; miscellany; two small works; 20 photographs, 1957-1966, of works by Martin, Jeremy Anderson, Jay Defeo, Richard Diebenkorn, Sam Francis, Sonia Gechtoff, Wally Hedrick, Ivan Majdrakoff, David Park, Sam Richardson, and Joseph White; and one photograph of Wally Hedrick with a painting.
Biographical / Historical:
Painter, illustrator, collagist and art educator, San Francisco, Cal. Director of the College of the San Francisco Art Institute. Worked in oil, watercolor, Gouache and pencil.
Provenance:
Donated 1975 by Fred Martin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art teachers -- California -- San Francisco  Search this
Collagists -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Identifier:
AAA.martfred
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-martfred

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