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Amelia Earhart

Artist:
Grace Wells Parkinson  Search this
Medium:
Bust, Amelia Earhart
Dimensions:
3-D: 24.1 x 24.1 x 35.6cm, 10.7kg (9 1/2 x 9 1/2 x 14 in., 23 5/8lb.)
Type:
ART-Sculpture
Country of Origin:
United States of America
Date:
1948
Credit Line:
Gift of Amelia Earhart Post 678, American Legion Auxiliary
Inventory Number:
A19500108000
Restrictions & Rights:
Usage conditions apply
See more items in:
National Air and Space Museum Collection
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9b0032470-e1e0-4b84-be4f-e8e0aee03838
EDAN-URL:
edanmdm:nasm_A19500108000

En-lightening - Installation by Nick Dong @ Mercury 20 Oakland

Creator:
Smithsonian Institution  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2014-04-26T16:50:52.000Z
YouTube Category:
Education  Search this
Topic:
Art  Search this
See more by:
SmithsonianArt
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianArt
EDAN-URL:
edanmdm:yt_t9O9Iu9rh4o

Artist Carlee Fernandez in "Staging the Self" - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2014-12-18T15:29:27.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_7tZah-bIxpk

Joyce Cutler Shaw papers

Creator:
Cutler-Shaw, Joyce, 1932-  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1974-1977
Summary:
The scattered papers of sculptor Joyce Cutler Shaw measure 0.2 linear feet and date from 1974 to 1977. The papers include a proposal for her work The Lady and the Bird Odyssey, general printed material, and printed copies of letters, photographs, and newsletters relating to Shaw's attempt to erect her ice sculpture We the People in Washington, D.C. on the Capitol grounds.
Scope and Contents:
The scattered papers of sculptor Joyce Cutler Shaw measure 0.2 linear feet and date from 1974 to 1977. The papers include a proposal for her work The Lady and the Bird Odyssey, general printed material, and printed copies of letters, photographs, and newsletters relating to Shaw's attempt to erect her ice sculpture We the People in Washington, D.C. on the Capitol grounds.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Joyce Cutler Shaw (1935-2018) was a sculptor active in San Diego and La Jolla, California, who carved many of her notable works in ice.

Originally from New York, Cutler Shaw received a bachelor's degree from New York University and a master's degree from the University of California, San Diego in visual arts. Her work explored the natural world, human nature, and the built environment within nature.
Provenance:
Donated 1977 by Joyce Cutler Shaw.
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:
Conceptual artists -- California  Search this
Sculptors -- California  Search this
Ice sculptors -- California  Search this
Collagists -- California  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Citation:
Joyce Cutler Shaw papers, 1974-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cutljoyc
See more items in:
Joyce Cutler Shaw papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99151b4c5-9a27-46a0-9b31-a6bff0ab8ecf
EDAN-URL:
ead_collection:sova-aaa-cutljoyc

Unfaltering Trust, (sculpture)

Title:
Nydia, the Blind Girl of Pompeii, (sculpture)
Sculptor:
Rogers, Randolph 1825-1892  Search this
Medium:
Marble
Type:
Sculptures
Owner/Location:
Forest Lawn Museum 1712 S. Glendale Avenue Glendale California 91205
Date:
1856
Topic:
Figure female--Full length  Search this
State of Being--Disabled--Blind  Search this
Literature--Bulwer-Lytton--Last Days of Pompeii  Search this
Literature--Character--Nydia  Search this
Control number:
IAS 02580016
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_297897

Seven Seals of Silence: The Maimed and the Ignorant, (sculpture)

Title:
Maimed and the Ignorant, (sculpture)
Sculptor:
Wilson, Ed 1925-1996  Search this
Medium:
Bronze
Type:
Sculptures
Owner/Location:
San Francisco Museum of Modern Art 151 Third Street San Francisco California 94103 Accession Number: 77.4 A-G
Date:
1966
Topic:
State of Being--Disabled--Physical Disability  Search this
Allegory--Quality--Ignorance  Search this
Abstract  Search this
Control number:
IAS 04280340
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_303946

The Kingdom Within, (sculpture)

Sculptor:
Unknown  Search this
Medium:
Sculpture: bronze; Base: marble
Type:
Sculptures
Owner/Location:
Administered by University of California at Los Angeles Jules Stein Eye Institute 100 Stein Plaza Los Angeles California 90024
Located University of California at Los Angeles Doris Stein Eye Research Center, Lobby Los Angeles California
Topic:
Figure male--Nude  Search this
State of Being--Disabled--Blind  Search this
Control number:
IAS CA000318
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_318873

L. A. Grows, (sculpture)

Title:
Los Angeles Grows, (sculpture)
Sculptor:
Sheets, Tony 1942-  Search this
Medium:
Cast concrete
Culture:
Indian  Search this
Spanish  Search this
Chinese  Search this
Type:
Sculptures-Outdoor Sculpture
Sculptures-Relief
Sculptures-Architectural component
Sculptures
Owner/Location:
Administered by Los Angeles Times Times Mirror Square Los Angeles California
Located Los Angeles Times Parking Garage Broadway Street near 2nd Street Los Angeles California
Date:
1988-1989
Topic:
History--United States--California  Search this
Figure group  Search this
Ethnic  Search this
Object--Foodstuff--Nuts  Search this
Occupation--Religion--Clergy  Search this
Architecture--Religious--Mission  Search this
Equestrian  Search this
Occupation--Other--Explorer  Search this
Architecture--Boat--Sailing Ship  Search this
Object--Tool--Shovel  Search this
Object--Tool--Axe  Search this
Architecture--Vehicle--Train  Search this
Occupation--Labor  Search this
Architecture--Vehicle--Carriage  Search this
Occupation--Other--Cowboy  Search this
Animal--Cattle  Search this
Occupation--Education--Teacher  Search this
Architecture--Education  Search this
Landscape--Orchard--Orange Grove  Search this
Architecture--Machine--Oil Rig  Search this
Architecture--Industry--Waterwork  Search this
Architecture--Vehicle--Spacecraft  Search this
Architecture--Vehicle--Airplane  Search this
Cityscape--California--Los Angeles  Search this
Occupation--Art--Architect  Search this
Object--Other--Computer  Search this
Occupation--Science  Search this
Recreation--Sport & Play--Basketball  Search this
State of Being--Disabled--Physical Disability  Search this
Dress--Ethnic--Spanish Dress  Search this
Control number:
IAS CA001379
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_337286

Heaven's Very Special Child, (sculpture)

Sculptor:
Taylor, Lee Harris  Search this
Medium:
Bronze
Type:
Sculptures-Outdoor Sculpture
Sculptures
Owner/Location:
St. John's Hospital and Health Center Foundation Child & Family Development Center 1328 22nd Street Courtyard Santa Monica California
Date:
1995
Topic:
Figure female--Full length  Search this
Children  Search this
State of Being--Disabled  Search this
Literature--Unknown--Heaven's Very Special Child  Search this
Control number:
IAS CA001887
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_341467

Nydia: The Blind Flower Girl of Pompeii, (sculpture)

Sculptor:
Rogers, Randolph 1825-1892  Search this
Medium:
Marble
Type:
Sculptures
Owner/Location:
Los Angeles County Museum of Art 5905 Wilshire Boulevard Los Angeles California 90036 Accession Number: 78.4
Date:
Modeled 1855. Carved ca. 1888
Topic:
Literature--Character--Nydia  Search this
Literature--Bulwer-Lytton--Last Days of Pompeii  Search this
State of Being--Disabled--Blind  Search this
Control number:
IAS 02960003
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_352780

Dwarf, (sculpture)

Sculptor:
Roeder, John  Search this
Medium:
Painted concrete
Type:
Sculptures
Owner/Location:
Richmond Art Center 25th & Barrett Avenues Richmond California 94804
Topic:
State of Being--Disabled--Dwarf  Search this
Control number:
IAS 75001220
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_3655

Nydia, the Blind Girl, (sculpture)

Sculptor:
Rogers, Randolph 1825-1892  Search this
Medium:
Marble
Type:
Sculptures
Owner/Location:
Crocker Art Museum 216 O Street Sacramento California 95814 Accession Number: 1925.3.147
Date:
1885
Topic:
Literature--Character--Nydia  Search this
State of Being--Disabled--Blind  Search this
Control number:
IAS 75001280
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_3715

Jirayr Zorthian papers, circa 1937-2004

Creator:
Zorthian, Jirayr, 1912-2004  Search this
Type:
Video recordings
Drawings
Citation:
Jirayr Zorthian papers, circa 1937-2004. Archives of American Art, Smithsonian Institution.
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6517
(DSI-AAA_SIRISBib)215776
AAA_collcode_zortjira
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215776

Sojourner

Artist:
Cauleen Smith, born Riverside, CA 1967  Search this
Medium:
digital video, color, sound, 22:41 minutes
Type:
Media Arts
Date:
2018
Credit Line:
Smithsonian American Art Museum, Museum purchase made possible by the SJ Weiler Fund
Copyright:
© 2020, Cauleen Smith
Object number:
2020.54.1
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Time-Based Media Art
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk719536258-e31e-4549-93c1-718929a1901b
EDAN-URL:
edanmdm:saam_2020.54.1

Jirayr Zorthian papers

Creator:
Zorthian, Jirayr  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Drawings
Date:
circa 1937-2004
Summary:
The papers of Jirayr Zorthian measure 2.0 linear feet and date from circa 1937 to 2004. The papers document Zorthian's career as a muralist through correspondence with family and friends; an interview, resumes, certificates, writings, and other professional activity material; clippings, exhibition announcements and catalogs, pamphlets on the Zorthian Day Ranch for Children, and other printed material; and photographs of Zorthian, his friends and family, and some of his artwork.
Scope and Contents:
The papers of Jirayr Zorthian measure 2.0 linear feet and date from circa 1937 to 2004. The papers document Zorthian's career as a muralist through correspondence with family and friends; an interview, resumes, certificates, writings, and other professional activity material; clippings, exhibition announcements and catalogs, pamphlets on the Zorthian Day Ranch for Children, and other printed material; and photographs of Zorthian, his friends and family, and some of his artwork.

Correspondence includes letters from family and friends. There are also a small number of letters from colleagues and art institutions in regards to exhibitions. Professional material includes sketches by Zorthian, an interview with Zorthian, writings and observations by Zorthian and others, and financial materials. Also included is "Creative and a Little Bit Crazy," a video recording on the life of Zorthian, and material related to additions made to the Zorthian Day Ranch for Children. Printed material consists of prints of some of Zorthian's artwork, newspaper clippings on Zorthian and the Zorthian Day Ranch for Children, exhibition announcements and catalogs. Photographic material consists of photographs of Zorthian along with friends and family at the Zorthian Day Ranch for Children, photographs of the ranch, and photographs of some of Zorthian's murals.
Arrangement:
The collection is arranged into four series.

Series 1: Correspondence, 1959-2001 (0.2 linear feet; Box 1)

Series 2: Professional Activity Files, 1970-2004 (0.4 linear feet; Box 1)

Series 3: Printed Material, 1959-2001 (0.5 linear feet; Boxes 1-2)

Series 4: Photographic Material, circa 1937-1992 (0.9 linear feet; Box 2)
Biographical / Historical:
Mural painter, painter, sculptor; Los Angeles, Calif.; b. 1911; d. 2004.
Jirayr Zorthian (1911-2004) was a sculptor and mural painter in Los Angeles, California. Born to an Armenian family in the Ottoman Empire, he immigrated to the United States with his family following World War I. Zorthian earned a Masters of Fine Arts from Yale University and went on to study art in Italy during the 1930s. Among some of Zorthian's works are eleven murals for the Tennessee State Capitol, a mural for the United States Post Office in St. Johnsville, New York titled "Early St. Johnsville Pioneers," and "Phantasmagoria of Military Intelligence Training." In the 1960s Zorthian also established a summer camp for children on his ranch, Zorthian Day Ranch for Children.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Jirayr Zorthian conducted by Paul Karlstrom, January 28-July 9, 1997.
Provenance:
Donated 1994 and 1995 by Jirayr Zorthian.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Muralists -- California -- Los Angeles  Search this
Sculptors -- California -- Los Angeles  Search this
Genre/Form:
Video recordings
Drawings
Citation:
Jirayr Zorthian papers, circa 1937-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zortjira
See more items in:
Jirayr Zorthian papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99b36cf48-2349-4c4e-a1b5-d92ddaae6f4f
EDAN-URL:
ead_collection:sova-aaa-zortjira

Jud Fine and Barbara McCarren papers, circa 1968-2009

Creator:
Fine, Jud, 1944-  Search this
McCarren, Barbara, 1958-  Search this
Type:
Interviews
Citation:
Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.
Topic:
Public art -- United States  Search this
Theme:
Art instruction and services  Search this
Record number:
(DSI-AAA_CollID)22154
AAA_collcode_finejud
Theme:
Art instruction and services
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22154

Jud Fine and Barbara McCarren papers

Creator:
Fine, Jud  Search this
McCarren, Barbara  Search this
Extent:
16.7 Linear feet
0.345 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Date:
circa 1968-2009
Summary:
The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.
Scope and Contents:
The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.

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

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

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

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

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

Artwork includes a single, unsigned painted work on canvas that has been cut awat from the frame or support.
Arrangement:
The collection is arranged as seven series:

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

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

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

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

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

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

Series 7: Artwork, circa 1980s (1 Folder: Box 16)
Biographical / Historical:
Jud Fine (1944- ) is a sculptor and educator in Venice, California, as well as former director of the University of Southern California Roski School of Fine Arts. Jud Fine is married to fellow artist, sculptor and installation artist Barbara McCarren (1958-), born in Washington, D.C., and they maintain a studio where they work on projects and commissions both individually and collaboratively.

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

As Mccarren/Fine they have executed several works including Waterline a two square block mixed use development in Huntington Beach, CA, Split Mound for the San Francisco Zoo, Mais a 23-acre interactive park in Long beach, CA, Modestopo, the civic center plaza for the City of Modesto and Stanislaus County, CA and both the Central Library and Pershing Square in downtown Los Angeles. Beyond public art commissions, their collaboration has extended to their studio practice, with collaborative exhibitions including a 2002 show in Bangkok, Thailand, that was later expanded with new work for the 2005 show, Currency, at Ronald Feldman Gallery, New York. Together McCarren/Fine have completed around thirty public work projects, and numerous studio projects.
Provenance:
Donated in 2022 by Jud Fine and Barbara McCarren.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Installation artists -- California -- Los Angeles  Search this
Topic:
Public art -- United States  Search this
Genre/Form:
Interviews
Citation:
Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.finejud
See more items in:
Jud Fine and Barbara McCarren papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c608732e-9329-442c-a514-56242b3018e9
EDAN-URL:
ead_collection:sova-aaa-finejud

Microfilm of the Morgan Russell papers

Creator:
Russell, Morgan, 1886-1953  Search this
Names:
Alvarez, Mabel, 1891-1985  Search this
Henri, Robert, 1865-1929  Search this
Huston, Walter, 1884-1950  Search this
Kikoïne, Michel, 1892-1968  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Stein, Leo, 1872-1947  Search this
Stravinsky, Igor, 1882-1971  Search this
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Extent:
6.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1891-1977
Summary:
The Morgan Russell papers, 1891-1977, present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence, biographical material, transcripts of lectures given by Russell, illustrated notebooks and sketches, printed material and photographs.
Scope and Content Note:
The Morgan Russell papers present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence with many prominent individuals who played a role in Russell's artistic development; biographical material primarily documenting his activities in Europe; transcripts of lectures given by Russell; illustrated notebooks and sketches documenting his interest in, and development of, color theory, music and Synchromism; printed material such as exhibition announcements, catalogs and clippings; and photographs of Russell, his wife, friends and artwork.
Arrangement:
The collection is arranged as 7 series according to record type and reflecting the lender's arrangement. With the exception of Series 1: Correspondence, all series are arranged chronologically.

Missing Title

Series 1: Correspondence, 1909-1964 (Reels 4524-4527)

Series 2: Biographical Material, 1925-1941 (Reel 4527)

Series 3: Business Records, 1911-1946 (Reel 4527)

Series 4: Writings, 1931-1953 (Reel 4527)

Series 5: Unbound Notes and Sketches, 1891-1977 (Reels 4528-4538)

Series 6: Printed Material, 1908-1963 (Reels 4539-4541)

Series 7: Photographs, 1908-1948 (Reel 4542)
Biographical Note:
Painter and sculptor Morgan Russell was born in New York City. He studied at the Art Students League and the New York School of Art with James Earle Fraser, Andrew Dasburg and Robert Henri from 1906 to 1907, before settling in Paris in 1909 where he remained for almost forty years. After meeting Stanton Macdonald-Wright in 1911, he became interested in Synchromism and studied with Canadian color theorist Ernest Tudor-Hart. In 1913 Russell produced the first abstract Synchromies and in 1917 developed a series of Synchromies entitled EIDOS. He visited California in the early 1930s, teaching at the Chouinard School of Art in Los Angeles from 1931-1932, in addition to lecturing at museums in Los Angeles and San Francisco. Russell left France permanently in 1946 and died in Pennsylvania in 1953.
Provenance:
The Morgan Russell papers were lent to the Archives of American Art for microfilming by the Montclair Art Museum in 1991. The material was returned to the lender in 1992.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Topic:
Synchromism (Art)  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Citation:
Morgan Russell papers, 1891-1977. Microfilm reels 4524-4542. Originals in the Montclair Art Museum.
Identifier:
AAA.russmorg
See more items in:
Microfilm of the Morgan Russell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978433968-7693-4610-a726-1f731d84a594
EDAN-URL:
ead_collection:sova-aaa-russmorg

The Zorach family papers

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

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

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

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

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

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

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

Missing Title

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oral history interview with Sidney Gordin

Interviewee:
Gordin, Sidney, 1918-1996  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Students  Search this
Pratt Institute -- Faculty  Search this
Harrison, Wallace, 1900-  Search this
Hofmann, Hans, 1880-1966  Search this
Jewell, Edward Alden, 1888-1947  Search this
Kantor, Morris, 1896-1974  Search this
Picasso, Pablo, 1881-1973  Search this
Pollock, Jackson, 1912-1956  Search this
Rosenborg, Ralph M., 1913-1992  Search this
Thomas, Byron, 1902-1978  Search this
Extent:
23 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 Sept. 2
Scope and Contents:
An interview of Sidney Gordin conducted 1965 Sept. 2, by Dorothy Seckler, for the Archives of American Art.
Gordin speaks of immigrating to the United States from Shanghai, China in 1922; being the class artist in grade school; attending Brooklyn Technical High School; studying at the WPA art school at the Brooklyn Museum for a summer; attending the Cooper Union School of Art; encountering Cubism; working as a commercial artist and making cartoons; teaching at the Pratt Institute; and alternating, as inspiration strikes, between painting and sculpture; and Constructivist philosophy. Gordin also mentions Ralph Rosenborg, Tom Eldred, Carol and Wallace Harrison, Edward Alden Jewell, Pablo Picasso, Byron Thomas, Morris Kantor, Hans Hofmann, Paul Clay, Jackson Pollock, and others.
Biographical / Historical:
Sidney Gordin (1918-1996) was a sculptor and educator from Berkeley, Calif.
General:
Originally recorded on 1 sound tape. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 1 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Art teachers -- California -- Berkeley -- Interviews  Search this
Painters -- California -- Berkeley  Search this
Topic:
Art, American  Search this
Sculptors -- California -- Berkeley -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gordin65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9aa58f1bb-73cd-4791-a140-3dab28df15d5
EDAN-URL:
ead_collection:sova-aaa-gordin65
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