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Broadcast Materials

Collection Creator:
Benton, Fletcher, 1931-  Search this
Extent:
1.1 Linear feet (Boxes 6-7)
Type:
Archival materials
Date:
1973-2001
Scope and Contents:
Broadcast materials consist of a variety of sound and video productions including radio and television programs featuring Benton, documentaries, promotional videos, and exhibition-related programs. Material is on two sound cassettes and ten videocassettes (U-matic and VHS).

Television footage includes an interview conducted by Paul Turner for a special program on KQED celebrating their Auction Art Awards from 1973-1975, news footage from the installation of the public sculpture Folded Circle-Arc from WQAD in Illinois, and an interview for WDAF-TV about Benton's exhibition in Halls' Gallery in Kansas City. A radio program is also found from Frankfurt's local radio, in German, about his work during the early 1980's in Germany.

Additional video programs include a distribution copy of a documentary about Dr. Wennesland, for which Benton did a short interview; an extended interview conducted by George W. Neubert in relation to Benton's work between 1964-1974; and a California State University production where Fletcher Benton discusses his kinetic work with professor Jim McManus. The latter tape also includes a short video about computer artist Grace Hertlein. Good Time to be West is a documentary about twelve California sculptors and the relationship between their work and the region. American Artists in Jewelry is a short documentary about the exhibition held at the Gilman Baker Gallery in Boca Raton, Florida, in which Benton and DeWain Valentine participated, among other artists. The Lollipops: A Kinetic Sculpture by Fletcher Benton includes an interview with Benton talking about his sculpture and its mechanical operations. There is also one sound cassette that contains the soundtrack from an unidentified television program with an interview of Benton.
Arrangement:
Television and radio programs are filed first in the series, followed by documentaries and exhibition-related material. Additional audiovisual material includes a home movie in series 1, Biographical material, studio and artwork documentation in series 7, Photographs and Moving Image Materials, and raw footage and production materials for a documentary in series 9, An American Artist video recordings.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bentflet, Series 6
See more items in:
Fletcher Benton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ccf8eb24-ed4b-4ece-b241-ab1f095faf4b
EDAN-URL:
ead_component:sova-aaa-bentflet-ref326

Brenda Kuhn's Recordings

Collection Creator:
Kuhn, Walt, 1877-1949  Search this
Extent:
(4 of 4)
Container:
Box 26, Folder 10
Type:
Archival materials
Date:
1965
Scope and Contents note:
Reel 7 (labeled 6B): Brenda Kuhn attends Elizabeth Navis day at Wichita Museum; discusses the Murdoch collection; Kuhn's relationship with Maurice Prendergast and William Glackens; importance to Kuhn of Eakins' painting The Gross Clinic. (Note: Side 2 of this reel is not recorded)

Reel 8 (labeled #7), Side 1: Garnett McCoy interviews Brenda Kuhn, November 19, 1965. Selected subjects include Kuhn's feelings about his contemporaries and artist circles; Kuhn's personality and aesthetic, and his attitudes towards art, politics, family, religion, Jews, etc.; Kuhn's work with collectors, especially John Quinn; Penguin Club; vaudeville; Kuhn's 14th St. studio; Clara Davidge; Frederick James Gregg; writing and distribution of "The Story of the Armory Show;" discovery of Armory Show records and Milton Brown; Arthur B. Davies; brief recollections of Edward and Jo Hopper, Edith and William Glackens, Charles Sheeler, John Sloan, personality and death of George Luks, Walter Pach, Abraham Walkowitz, Georgia O'Keeffe, Louis Bouché, George Bellows, Robert Henri; Kuhn in Florida.

Reel 8 (labeled #7), Side 2: Garnett McCoy interview with Brenda Kuhn, cont. Selected subjects include relationships with dealers Annie Montross, Edith Halpert, the Harrimans, Durand-Ruel, and Maynard Walker; Albert Freueh, Marius de Zayas; Kuhn's attitude towards critics; Kuhn's public relations philosophy; the dissolution of the Association of American Painters and Sculptors; Jules Pascin; Mary Roberts; Kuhn's mental illness; Vera Kuhn; disposition of the estate.
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
See more items in:
Walt Kuhn Family papers and Armory Show records
Walt Kuhn Family papers and Armory Show records / Series 4: Walt Kuhn Family Papers / 4.12: Audio Recordings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw968b0634b-5cd3-4975-801b-dbf86493012c
EDAN-URL:
ead_component:sova-aaa-kuhnwalt-ref1029

Nina Howell Starr papers

Creator:
Starr, Nina Howell, 1903-2000  Search this
Names:
International Women's Art Festival  Search this
Museum of American Folk Art  Search this
Photographic Historical Society of New York  Search this
Professional Women's Photographers, Inc.  Search this
Sharon Arts Center  Search this
Southern Regional Council  Search this
Brandt, Helene, 1936-  Search this
Cohen, Stephenie  Search this
Coke, Van Deren, 1921-  Search this
Connor, Linda  Search this
Daitz, Evelyne Z.  Search this
DiSpirito, Henry, 1898-1995  Search this
Evans, Minnie, 1892-  Search this
Evans, Walker, 1903-1975  Search this
Ghent, Henri, 1926-  Search this
Kanaga, Consuelo, 1894-  Search this
Kernan, Margo, 1927-  Search this
Kruger, Louise, 1924-  Search this
Lippard, Lucy R.  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mainardi, Patricia  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Putnam, Wallace, 1899-1989  Search this
Ringgold, Faith  Search this
Rose, Ruth Starr, 1887-1965  Search this
Savage, Naomi, 1927-2005  Search this
Sherwood, Maggie, 1922-1984  Search this
Siskind, Aaron  Search this
Strand, Paul, 1890-1976  Search this
Szarwarski, John  Search this
Uelsmann, Jerry, 1934-  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Date:
circa 1933-1996
Summary:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.
Scope and Contents:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Biographical materials are scattered and include grant and publication applications, curriculum vitae, lists of artwork, and miscellany.

Starr's lectures, writings, and project files are arranged into one series. They include Starr's student writings, a notebook about Civil Rights, files documenting her work on a Florida public housing project, the Southern Regional Council, and the League of Women Voters. A few files of general writings and lectures mostly concern folk artist Minnie Evans and the exhibition Women Photograph Men, held at the International Women's Arts Festival in 1976.

Subject files on artists, art history topics, photographers and photography (including Starr's work), and on folk artist and friend Minne Evans comprise the bulk of the collection. The files are a mix of collated materials and primary sources created by Starr and others and many contain correspondence, notes, photographs, and a few sketches and orginal prints. Also included are materials related to professional and organizational groups in which Starr was involved, including the Professional Women's Photographers, Inc., the Photographic Historical Society of New York, and the Museum of American Folk Art; files on several of Starr's exhibitions; and files on artists that contain printed materials, correspondence, and photographs. The file on Ruth Starr Rose contains prints and drawings. There are also photographs taken by Stephanie Cohen. Particularly rich files are found for Stephanie Cohen; Van Deren Coke, Director of the George Eastman Company; Evelyn Daitz, Director of the Witkin Gallery; Henry DiSpirito; Walker Evans; the Fotofolio printing company; curator Henri Ghent; photographer Consuelo Kanaga and husband Wallace Putnam; Margot Starr Kernan; Lucy Lippard; Stanton Mac-Donald Wright; Sharon Arts Center; photographer Paul Strand; curator John Szarwarski; and photographer Jerry Uelsman.

The collection also documents the friendship between painter Minnie Evans and Starr, and Starr's business dealings on Evans' behalf. There is correspondence about and with Evans, several sound recordings of interviews conducted by Starr and others with Evans, many with transcripts, financial documents, publications about Evans including exhibition catalogs, clippings, journal articles and monographs, two posters, a scrapbook, and one sketch by Evans.

Printed material includes published articles, exhibition catalogs and announcements, and clippings about Starr.

Photographic materials are extensive and include photographs and slides taken by Starr of friends, family, artwork by Minnie Evans, events, exhibition openings, world travels, and folk art, especially roadside. Prominent artists and art historians photographed include: photographers Maggie Sherwood, Naomi Savage, Barbara Morgan, Linda Connor, Aaron Siskind, Consuelo Kanaga, Faith Ringgold, and Walker Evans; sculptors Louise Kruger and Helene Brandt; feminist and art historian Pat Mainardi; and curators Henri Ghent and John Szarkowski. Starr's artistic photographic work is also represented, and includes two silver gelatin prints of Minnie Evans, and subject studies on hands, people, and nature, among others.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Series 1: Biographical material, 1954-circa 1990 (8 folders; Box 1)

Series 2: Writings, Speeches and Projects, 1933-1995 (1.1 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1939-1996 (8.3 linear feet; Boxes 2-10)

Series 4: Minnie Evans, 1962-1996 (3.7 linear feet; Boxes 10-13, 23, OV 24)

Series 5: Printed Material, 1936-1995 (2.7 linear feet; Boxes 13-16, 23)

Series 6: Photographic Material, circa 1939-1993 (5.4 linear feet; Boxes 16-23, OV 24)
Biographical / Historical:
Nina Howell Starr (1903-2000) was a photographer, art dealer, and art historian who worked primarily in New York City. Born in Newark, New Jersey in 1903 as Cornelia Margaret Howell, Starr attended Wellesley College and graduated from Barnard in 1926. Also in 1926, she married Nathan Comfort Starr, an English professor, and, over the years the couple lived in Massachusetts, Maryland, Florida, and New York City.

In 1963, at the age of 60, Starr received the first M.F.A. in photography granted by the University of Florida. Starr exhibited widely in both solo and group exhibitions, including Magic Lantern (Photographer's Gallery, London, 1976), and the Strength of Women (Witken Gallery, 1991), and numerous shows featuring photographs of outsider art. Her "New Yorker" project became an exhibition in 2016. Her work is owned by several prominent museums, including the Metropolitan Museum of Art and the George Eastman House International Museum of Photography.

As art historian, self-proclaimed critic, and civil rights and feminist advocate, Starr lectured widely, wrote articles and letters to editors, and corresponded with many notable art world figures. She became especially interested in outsider and folk art. Starr met outsider artist Minnie Evans in 1962 and became Evans' lifelong friend, advocate, and representative dealer. She wrote about Evans and introduced Evans' works to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated an exhibition of Evans' work in 1975.

Starr was an active member of professional organizations including the Photographic Historical Society of New York, Professional Women's Photographers, Inc., and the Museum of American Folk Art where she served on the Advisory Committee.

Nina Howell Starr died in 2000 in Connecticut at the age of 97.
Provenance:
The Nina Howell Starr papers were donated by Nina Howell Starr in 1996.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Topic:
Folk art  Search this
Civil rights  Search this
African American art  Search this
Folk art -- Photographs  Search this
Women photographers  Search this
Photography  Search this
African American artists  Search this
Genre/Form:
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Citation:
Nina Howell Starr papers, circa 1933-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.starnina
See more items in:
Nina Howell Starr papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dccd352c-b391-49d6-ae20-8b00e1e280d3
EDAN-URL:
ead_collection:sova-aaa-starnina
Online Media:

Judith Schaechter papers

Creator:
Schaechter, Judith, 1961-  Search this
Extent:
14 Linear feet
35.3 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sketchbooks
Diaries
Date:
circa 1900s-2019
bulk 1960s-2019
Summary:
The papers of stained glass artist and educator Judith Schaechter measure 14.0 linear feet and 35.3 Gigabytes and date from circa 1900s-2019, with the bulk of the material dating from the 1960s-2019. The collection documents Schaechter's career through biographical material, correspondence, professional files, writings, printed material, photographic material, and artwork, and includes records in digital format.
Scope and Contents:
The papers of stained glass artist and educator Judith Schaechter measure 14.0 linear feet and 35.3 Gigabytes and date from circa 1900s-2019, with the bulk of the material dating from the 1960s-2019. The collection documents Schaechter's career through biographical material, correspondence, professional files, writings, printed material, photographic material, and artwork, and includes records in digital format.

Biographical material includes student records, honors and awards, and biographies and genealogical research.

Schaechter's correspondence is professional and personal. Professional correspondence documents many aspects of Schaechter's art career and includes business-related correspondence and some conversations on art. Personal correspondence (which is access restricted) includes greeting cards and extensive letters with family and friends including other artists and musicians.

Professional files includes calendars documenting professional appointment planning, exhibition records including consignments, condition reports, and Schaechter's workshop teaching records.

Schaechter's writings series includes, but is not limited to, notebooks, diaries, digital blog entries, interviews, and artist statements, and an original music recording by the artist.

Printed material includes a press and exhibition archive arranged by year, with printed and digital records such as televised interviews and studio tours. Also included are a catalogue raisonné produced by Schaechter, and memorabilia related to her visual art and music career performing in bands. Digital image bank files contain source material used by Schaechter in her work.

Photographic material includes photos of home and family gatherings, glass workshops, art openings, and music shows. Also included are printed images of artwork and historic photographs related to Schaecter's genealogy.
Arrangement:
The collection is arranged in seven series:

Series 1: Biographical Material, circa 1969-2019 (0.3 Linear feet; Box 1, 13; 0.936 Gigabytes: ER0001-ER0002)

Series 2: Correspondence, circa 1974-2019 (4.4 Linear feet; Boxes 1-4, 20-21; 0.027 Gigabytes: ER0003-ER006)

Series 3: Professional Files, circa 1982-2019 (0.9 Linear feet: Box 5, 13; 0.624 Gigabytes: ER0007-ER0013, ER0056-ER0057)

Series 4: Writings, circa 1973-2019 (0.9 Linear feet: Boxes 5-6; 12.4 Gigabytes: ER0014-ER0026)

Series 5: Printed Material, circa 1973-2019 (3.8 Linear feet: Boxes 6-9, 14-15, OV19; 17.1 Gigabytes: ER0027-ER0042)

Series 6: Photographic Material, circa 1900s-2019 (1.8 Linear feet: Boxes 10, 12, 16; 4.17 Gigabytes: ER0043-ER0055)

Series 7: Artwork, circa 1965-2015 (1.9 Linear feet: Boxes, 10-11, 15, 17-18)
Biographical / Historical:
Judith Schaechter (1961-) is a Philadelphia-based stained glass artist and educator.

Schaechter was born in Gainesville Florida and her family soon relocated to Newton Massachusetts where her father Moselio Schaechter was a microbiology professor at Tufts University. She exhibited artistic talent and imagination that was nurtured at an early age, and Schaechter worked on developing her art in high school. She received her bachelor's degree from Rhode Island School of Design in 1983. During her undergraduate work she discovered the glass program and completed her undergraduate work there.

While her methods of art production may be centuries old, Schaecter infuses contemporary themes in her pieces that resonate with the grotesque imagery that appears in the Medieval and Renaissance motifs that she emulates. In addition to lending her works as cover artwork to literary and music artists, Schaecter also played in bands such as Ken throughout the 1990s and recorded her own music. In this way the punk and D.I.Y. ethos resonates with all of her creative endeavors, despite the fact that her works take many hours to create. Skillful draftsmanship is at the core of her artistic practices and her more recent work incorporates computer illustration as well as animation.

Schaechter served as an adjunct professor in the Crafts Department at The University of the Arts in Philadelphia, Pennsylvania and Adjunct Faculty at the New York Academy of Art in New York, New York. She has also taught workshops and classes at Pilchuck Glass School in Seattle, Penland School of Crafts, Toyama Institute of Glass (Toyama, Japan) and Australian National University in Canberra, Australia, among others.

An early career milestone was achieved with her stained glass artwork appearing on the cover of The New Yorker in 1993. She showed her work Bigtop Flophouse Bedspins in the 2002 Whitney Biennial. Schaechter's artwork is featured in the collections of the Metropolitan Museum of Art, the Victoria and Albert Museum, the Hermitage Museum, the Philadelphia Museum of Art, the Corning Museum of Glass, and the Renwick Gallery, among numerous other public and private collections.
Provenance:
The collection was donated in 2019 and 2021 by Judith Schaechter.
Restrictions:
This collection is open for research. This personal correspondence series is access restricted; written permission is required. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Stained glass artists -- Pennsylvania -- Philadelphia  Search this
Sculptors -- Pennsylvania -- Philadelphia  Search this
Educators -- Pennsylvania -- Philadelphia  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Scrapbooks  Search this
Genre/Form:
Interviews
Sketchbooks
Diaries
Citation:
Judith Schaechter papers, circa 1900s-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schajudi
See more items in:
Judith Schaechter papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ee4a5ec9-17a2-499a-8ebd-d502c4346891
EDAN-URL:
ead_collection:sova-aaa-schajudi

Viktor Schreckengost papers

Creator:
Schreckengost, Viktor, 1906-  Search this
Names:
American Limoges China Co.  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Sketches
Video recordings
Date:
1933-1995
Summary:
The scattered papers of industrial designer Viktor Schreckengost measure 0.7 linear feet and date from 1933 to 1995. Largely, this selection of papers deals with Schreckengost's dinnerware design career, specifically with the American Limoges pottery firm of Sebring, Ohio. Found is correspondence with the American Limoges China Company and the Crockery and Glass Journal; printed materials featuring his designs; a photo of Schreckengost and his ceramics; sketches and large-scale renderings of dinnerware; and three VHS videocassettes. One videocassette dates from 1993 and contains an interview of Viktor and Don Schreckengost, a 1994 videocassette concerns the history of Schreckengost's art, and a third tape contains a slide show.
Scope and Contents:
The scattered papers of industrial designer Viktor Schreckengost measure 0.7 linear feet and date from 1933 to 1995. Largely, this selection of papers deals with Schreckengost's dinnerware design career, specifically with the American Limoges pottery firm of Sebring, Ohio. Found is correspondence with the American Limoges China Company and the Crockery and Glass Journal; printed materials featuring his designs; a photo of Schreckengost and his ceramics; sketches and large-scale renderings of dinnerware; and three VHS videocassettes. One videocassette dates from 1993 and contains an interview of Viktor and Don Schreckengost, a 1994 videocassette concerns the history of Schreckengost's art, and a third tape contains a slide show.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Viktor Schreckengost papers, 1933-1995 (Box 1-3; 0.7 linear feet)
Biographical / Historical:
Viktor Schreckengost (1906-2008) was an industrial designer, teacher, and sculptor in Cleveland, Ohio.

Schreckengost was born in Sebring, Ohio--a major dinnerware manufacturing community. He began odd jobs at the potteries as a child and created his first dinnerware design while still in high school. After attending the Cleveland School of Art (now Cleveland Institute of Art), he studied in Vienna, Austria under Michael Powolny. Returning to Cleveland, Schreckengost accepted a teaching position at the institute. Also, he worked at Cowan Pottery located in Rocky River, Ohio where he designed the Jazz Bowl commissioned by Eleanor Roosevelt.

Schreckengost remained an instructor at the Cleveland Institute of Art for over seventy years as faculty and professor emeritus and founded the CIA's school of industrial design. He was equally prolific in design and produced a body of work consisting of fine art ceramics, every day kitchen and dinnerware, sculpture, watercolor and industrial designs including a pedal car and a bicycle. At thirty-seven, he enlisted in U.S. Navy and fought in World War II. He designed prosthetics to help his fellow soldiers.

For the American Limoges China Company (Sebring, Ohio) and the Salem China Company (Salem, Ohio), Schreckengost designed dinnerware for the everyday American table. Influenced by the Great Depression, he believed good design did not need to be expensive. Additionally, he created complimentary design lines so that different patterns and styles could be mixed together.

He was awarded the National Medal of Arts in 2006. A lifelong Clevelander, Viktor Schreckengost passed away in Tallahassee, Florida while on vacation in 2008.
Related Materials:
The of bulk Viktor Schreckengost's papers are housed at Cleveland State University, Michael Schwartz Library, Special Collections in Cleveland, Ohio.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 1078) including three scrapbooks dating from 1929-1949 and photographs from 1929-1954. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Viktor Schreckengost lent material for microfilming in 1975. Chip Nowacek, Executive Director of the Viktor Schreckengost Foundation donated papers in 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 copies requires advance notice.
Occupation:
Ceramicists--Ohio  Search this
Industrial designers--Ohio  Search this
Topic:
Decorative arts  Search this
Genre/Form:
Interviews
Photographs
Sketches
Video recordings
Citation:
Viktor Schreckengost papers, 1933-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schrvikt
See more items in:
Viktor Schreckengost papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cc3834e8-044a-495c-ae61-641e013561fd
EDAN-URL:
ead_collection:sova-aaa-schrvikt

William Wyman papers

Creator:
Wyman, William, 1922-1980  Search this
Names:
Alfred University  Search this
Columbia University  Search this
Friedrich, Maria  Search this
Pappas, Marilyn  Search this
Extent:
6.8 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Sound recordings
Interviews
Date:
1914-2015
bulk 1946-1992
Summary:
The papers of ceramicist, educator, and sculptor William Wyman measure 6.8 linear feet and date from 1914 to 2015 with the bulk of the collection dating from 1946 to 1992. The collection documents Wyman's career through biographical materials, including a sound recording, personal and professional correspondence, writings and notes including notes on Wyman's glaze formulas, professional activity files documenting Wyman's exhibitions, projects, and teaching, personal business records documenting sales and consignments, printed material about Wyman's career, personal photographs and photos of works of art, and some artwork including sketchbooks.
Scope and Contents:
The papers of ceramicist, educator, and sculptor William Wyman measure 6.8 linear feet and date from 1914 to 2015 with the bulk of the collection dating from 1946 to 1992.

Biographical materials consist of address and appointment books, diplomas and certificates, identification and military records, and a sound recording of a conversation between Wyman and his apprentice Pamela Hoss. Correspondence is between Wyman and his wife Lisbeth Wyman, his partner Marilyn Pappas, colleagues, curators and collectors, and galleries regarding exhibitions, teaching, apprentices, and personal relationships.

Writings and notes include Wyman's glaze formulas, notebooks kept by Wyman while attending Columbia and Alfred Universities, and a few writings by others. Wyman's professional activity files include exhibition, membership, project, and teaching files. Personal business records include sales and consignment records, records of sales to collector Sandra Grotta, income and expense books, artwork transaction books, Maria Friedrich and the Impressions Gallery records, and files regarding Wyman's estate and other legal records.

Printed materials primarily relate to Wyman's exhibitions and career. Photographic materials include photos of Wyman and colleagues, personal photographs, and photos of works of art, along with three photo albums relating to Wyman's artwork and his time in the U.S. Marines during World War II. Artwork found in the collection includes a few prints, seven sketchbooks, drawings, and sketches of ceramics projects, portraits, figure drawings, and structural drawings.

Collection material created after Wyman's death was managed by Pappas and typically relates to articles about his career, sales and exhibitions of his artwork, and other business affairs.
Arrangement:
The collection is arranged as eight series.

Series 1: Biographical Materials, 1922-1992 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1914-2015 (0.8 linear feet; Boxes 1-2)

Series 3: Writings and Notes, 1949-1980 (0.8 linear feet; Boxes 2-3, 8)

Series 4: Professional Activity Files, circa 1950-2014 (0.3 linear feet; Box 2, OV 10)

Series 5: Personal Business Records, 1946-2011 (2.0 linear feet; Boxes 2-4)

Series 6: Printed Materials, 1948-2001 (0.5 linear feet; Boxes 4-5, 8)

Series 7: Photographic Materials, circa 1939-circa 1980 (1.2 linear feet; Boxes 5-6, 8)

Series 8: Artwork, 1929-1979 (0.7 linear feet; Boxes 6-7, OV 9)
Biographical / Historical:
William Wyman (1922-1980) was a ceramicist, educator, and sculptor active in Massachusetts.

Wyman was born in Boston in 1922. After serving in World War II as a U.S. Marine, he enrolled in the Massachusetts College of Art graduating in 1950. He went on to receive his Master of Arts degree from Columbia University in 1951 and later attended Alfred University during their 1953 summer session. Wyman became a professional ceramicist after finishing his education, establishing Herring Run Pottery with Michael Cohen in 1962. In 1965, Wyman spent three months in Honduras as a consultant for the Agency for International Development (A.I.D.) to develop pottery. Wyman was later inspired by the Mayan ruins he saw in Honduras to create works he called "temples."

Wyman taught at the University of Maryland, DeCordova Museum, Massachusetts College of Art, School of the Museum of Fine Arts, Boston, and Florida International University, and was also an instructor for numerous workshops held across the country. From 1975 to 1978, Wyman was the recipient of National Endowment for the Arts grants to procure apprentices and to fund ceramic and sculpture projects.

Wyman died of a brain tumor in 1980.
Related Materials:
Also in the Archives of American Art is an oral history interview of Michael Cohen, cofounder of Herring Run Pottery, conducted August 11, 2001 at his home in Pelham, M.A. by Gerry Williams for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The William Wyman papers were donated in 1982, 1983, and 2017 by Marilyn R. Pappas, Wyman's friend and partner.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Ceramicists -- Massachusetts  Search this
Sculptors -- Massachusetts  Search this
Educators -- Massachusetts  Search this
Topic:
Ceramics  Search this
Genre/Form:
Drawings
Sketchbooks
Sound recordings
Interviews
Citation:
William Wyman papers, 1914-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wymawill
See more items in:
William Wyman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw964f23e07-678c-4a88-86f3-3b52ce378e95
EDAN-URL:
ead_collection:sova-aaa-wymawill

Oral history interview with Ruben Torres-Llorca, 1998 January 31

Interviewee:
Torres Llorca, Rubén, 1957-  Search this
Interviewer:
Martínez, Juan A  Search this
Subject:
Bedia, José  Search this
Rodríguez Brey, Ricardo  Search this
Instituto Superior de Arte (Cuba)  Search this
Type:
Interviews
Sound recordings
Topic:
Artists -- Florida -- Miami -- Interviews  Search this
Latino and Latin American artists  Search this
Expatriate artists -- Florida -- Miami -- Interviews  Search this
Art, Cuban  Search this
Cuban American art  Search this
Art, Modern -- 20th century -- Florida -- Miami  Search this
Cuban American artists  Search this
Theme:
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)13547
(DSI-AAA_SIRISBib)216458
AAA_collcode_torres98
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216458
Online Media:

Oral history interview with Mark Lindquist, 2009 August 12

Interviewee:
Lindquist, Mark, 1949-  Search this
Interviewer:
Smith, Paul J., 1931-  Search this
Subject:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Woodworkers -- Florida -- Interviews  Search this
Sculptors -- Florida -- Interviews  Search this
Record number:
(DSI-AAA_CollID)15710
(DSI-AAA_SIRISBib)283570
AAA_collcode_lindqu09
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_283570
Online Media:

Oral history interview with Tom Patti, 2010 January 18-19

Interviewee:
Patti, Tom, 1943-  Search this
Interviewer:
Warmus, William, 1953-  Search this
Subject:
Arnheim, Rudolf  Search this
Borowsky, Irvin J.  Search this
Buechner, Thomas S.  Search this
Fuller, R. Buckminster (Richard Buckminster)  Search this
Gund, Ann  Search this
Gund, Graham  Search this
Heller, Doug  Search this
Hunter-Stiebel, Penelope  Search this
Kostellow, Rowena Reed  Search this
Moholy-Nagy, Sibyl  Search this
Parriott, Joseph  Search this
Pelli, Cesar  Search this
Rockwell, Norman  Search this
Rogers, Malcolm Jennings  Search this
Safdie, Moshe  Search this
Wagman, Laurie  Search this
Wood, Art  Search this
Corning Museum of Glass.  Search this
General Electric Company  Search this
George Walter Vincent Smith Museum  Search this
Haystack Mountain School of Crafts  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Norman Rockwell Museum at Stockbridge  Search this
Owens-Corning Fiberglas Corporation  Search this
Penland School of Crafts  Search this
Pratt Institute  Search this
Sienna Gallery  Search this
Type:
Interviews
Sound recordings
Place:
Colombia -- description and travel
Europe -- description and travel
Israel -- description and travel
Topic:
Industrial design  Search this
Designers -- Massachusetts -- Interviews  Search this
Glass art -- Study and teaching  Search this
Glass artists -- Massachusetts -- Interviews  Search this
Glass blowing and working -- Study and teaching  Search this
Sculptors -- Massachusetts -- Interviews  Search this
Record number:
(DSI-AAA_CollID)15780
(DSI-AAA_SIRISBib)287761
AAA_collcode_patti10
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_287761
Online Media:

Oral history interview with Duane Hanson, 1989 August 23-24

Interviewee:
Hanson, Duane, 1925-1996  Search this
Interviewer:
Kirwin, Liza, 1957-  Search this
Subject:
Carter, Dudley  Search this
De Andrea, John  Search this
Grygo, George  Search this
Hauser, Alonzo, 1909-1988  Search this
Karp, Ivan C.  Search this
Kienholz, Edward  Search this
McVey, William Mozart  Search this
Milles, Carl  Search this
Rood, John  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Topic:
Figure sculpture  Search this
Sculpture -- Technique  Search this
Pop art  Search this
Sculptors -- Florida -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11643
(DSI-AAA_SIRISBib)212357
AAA_collcode_hanson89
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212357
Online Media:

Oral history interview with Enrique Guy Garcia, 1998 Mar. 18

Interviewee:
Garcia, Enrique Guy, 1928-  Search this
Interviewer:
Martínez, Juan A  Search this
Type:
Sound recordings
Interviews
Topic:
Latino and Latin American artists  Search this
Artists -- Florida -- Miami -- Interviews  Search this
Painters -- Florida -- Miami -- Interviews  Search this
Sculptors -- Florida -- Miami -- Interviews  Search this
Expatriate artists -- Florida -- Miami -- Interviews  Search this
Artists -- Cuba -- Interviews  Search this
Art, Modern -- 20th century -- Florida -- Miami  Search this
Cuban American art  Search this
Cuban American artists  Search this
Theme:
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)13567
(DSI-AAA_SIRISBib)216454
AAA_collcode_garcia98
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216454
Online Media:

Oral history interview with John Chamberlain, 1991 January 29-30

Interviewee:
Chamberlain, John Angus, 1927-2011  Search this
Interviewer:
Clearwater, Bonnie, 1957-  Search this
Subject:
Creeley, Robert  Search this
Type:
Interviews
Sound recordings
Topic:
Sculpture, Modern -- 20th century -- United States  Search this
Sculptors -- Florida -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12577
(DSI-AAA_SIRISBib)214529
AAA_collcode_chambe91
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214529

Oral history interview with María Brito, 1997 October 25

Interviewee:
Brito, María Cristina, 1947-  Search this
Interviewer:
Martínez, Juan A  Search this
Type:
Interviews
Sound recordings
Topic:
Latino and Latin American artists  Search this
Cuban American art  Search this
Cuban American artists  Search this
Art, Modern  Search this
Women artists  Search this
Women sculptors  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)5441
(DSI-AAA_SIRISBib)216457
AAA_collcode_brito97
Theme:
Latino and Latin American
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216457
Online Media:

Duane Hanson papers, 1935-2006

Creator:
Hanson, Duane, 1925-1996  Search this
Subject:
Bush, Martin H.  Search this
Hanson, Dewey  Search this
Karp, Ivan C.  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Type:
Sketches
Sketchbooks
Video recordings
Visitors' books
Topic:
Sculptors -- Florida  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6110
(DSI-AAA_SIRISBib)216313
AAA_collcode_hansduan
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216313
Online Media:

Guy Dill papers, 1972-2003

Creator:
Dill, Guy, 1946-  Search this
Type:
Photographs
Topic:
Sculptors -- California -- Venice  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)11128
(DSI-AAA_SIRISBib)247212
AAA_collcode_dillguy
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_247212
Online Media:

Audrey Flack papers, 1950-2009

Creator:
Flack, Audrey, 1931-  Search this
Subject:
Janson, Anthony F.  Search this
Arizona State University  Search this
Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this
Cooper Union for the Advancement of Science and Art  Search this
Guild Hall of East Hampton  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Louis K. Meisel Gallery  Search this
Type:
Scrapbooks
Photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Topic:
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)15666
(DSI-AAA_SIRISBib)282435
AAA_collcode_flacaudr
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_282435
Online Media:

Stuart Davis papers, 1934-1940

Creator:
Davis, Stuart, 1892-1964  Search this
Subject:
Picasso, Pablo  Search this
Kuniyoshi, Yasuo  Search this
Downtown Gallery (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
American Artists' Congress  Search this
Topic:
Modernism (Art)  Search this
Record number:
(DSI-AAA_CollID)8336
(DSI-AAA_SIRISBib)210508
AAA_collcode_davistua
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210508
Online Media:

Pepper, Beverly - Biographical Materials

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 61, Folder 36
Type:
Archival materials
Date:
1975, 1992-1993
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery records
André Emmerich Gallery records / Series 6: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cec61759-0e88-4287-8858-77efd96179fe
EDAN-URL:
ead_component:sova-aaa-andremmg-ref3054
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Stuart Davis papers

Creator:
Davis, Stuart, 1892-1964  Search this
Names:
American Artists' Congress  Search this
Downtown Gallery (New York, N.Y.)  Search this
Federal Art Project (N.Y.)  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Picasso, Pablo, 1881-1973  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1934-1940
Summary:
The papers of painter Stuart Davis measure 0.8 linear feet and date from 1934 to 1940. The collection is comprised of correspondence that includes letters from Yasuo Kuniyoshi, Arnold Blanch, Rockwell Kent, and others regarding Pablo Picasso's statement against the fascist dictatorship in Spain, as well as a letter from Davis to Picasso inviting him to speak at the 2nd Annual American Artists' Congress meeting. Also found are files from Davis's position as editor of Art Front magazine; membership files documenting Davis's activities with the American Artists' Congress, Fine Arts Federation of New York, the New York World's Fair Artists Committee, and other organizations; printed materials; a project file for the Federal Art Project; and editorials. Additional items include an article manuscript and a draft of a letter to Ben Shahn suggesting that Downtown Gallery artists provide funding to Edith Halpert in order to open another gallery.
Scope and Contents:
The papers of painter Stuart Davis measure 0.8 linear feet and date from 1934 to 1940. The collection is comprised of correspondence that includes letters from Yasuo Kuniyoshi, Arnold Blanch, Rockwell Kent, and others regarding Pablo Picasso's statement against the fascist dictatorship in Spain, as well as a letter from Davis to Picasso inviting him to speak at the 2nd Annual American Artists' Congress meeting. Also found are files from Davis's position as editor of Art Front magazine; membership files documenting Davis's activities with the American Artists' Congress, Fine Arts Federation of New York, the New York World's Fair Artists Committee, and other organizations; printed materials; a project file for the Federal Art Project; and editorials. Additional items include an article manuscript and a draft of a letter to Ben Shahn suggesting that Downtown Gallery artists provide funding to Edith Halpert in order to open another gallery.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Stuart Davis papers, 1934-1940 (Boxes 1-2; 0.8 linear feet)
Biographical / Historical:
Stuart Davis (1892-1964) was a painter in New York, N.Y.

Davis was born in Philadelphia to Edward Wyatt Davis, who was the art editor of The Philadelphia Press, and sculptor Helen Stuart Foulke. He began his art training under Robert Henri at the Robert Henri School of Art in New York in 1909. His works were selected by artist William Glackens to be exhibited at the 1913 Armory Show making Davis one of the youngest artists to participate. In 1928, he traveled to Paris for a year where he painted street scenes of the city. While there, he married Bessie Chosak who later died in 1932. He remarried in 1938 to Roselle Springer. In 1933, Davis began painting murals for the for the Federal Art Project, a government project sponsored by the Works Progress Administration (WPA). Throughout his career, Davis was involved with many art groups including the American Artists' Congress, the Fine Arts Federation of New York, and others. Davis had a strong interest in politics that was often expressed through his artwork and as the editor of Art Front, a publication of the Artists Union in New York that was associated with communist ideology.

Davis taught at the Art Students League, New York School for Social Research, and Yale University. He was represented by the Downtown Gallery in New York. He died in 1964 in New York.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Stuart Davis conducted on May 18-June 19, 1962 by Harlan Phillips, for the Archives of American Art and Brandeis University.

Additional Stuart Davis papers are also located at the Fogg Museum at Harvard University and Pierpont Morgan Library.
Separated Materials:
The Archives of American Art also holds material lent for microfilming including 9 scrapbooks (reels N584-N586 and N696) containing newspaper clippings, magazine articles, exhibition notices and catalogs that are in the possession of Earl Davis, son of Stuart Davis; 1 notebook (reel 3842) that is located at the Pierpont Morgan Library; and approximately 85 letters to Davis from his mother, Helen Stuart Davis (reel N70-12) dating from 1935-1939, in which she describes her work as a sculptor on the Federal Art Projects in Dade County, Florida and Berkeley, California, detailing administrative difficulties and daily work, and alluding to her son's work with the American Artists' Congress, his influence with Holger Cahill and other federal officials; her sketchbooks; and approximately 90 photographs of work done by her and others on the Federal Art Project in Florida. The material was returned to Mrs. Stuart Davis after microfilming.
Provenance:
The Stuart Davis papers were donated by Earl Davis from 1984-1988.
Restrictions:
This collection is access restricted except for a handwritten draft of a letter to Ben Shahn and a photocopy of an article by Davis titled "Abstract Painting Today"; written permission is required. Contact Reference Services for more information.

Access, with permission, 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 -- New York (State) -- New York  Search this
Topic:
Modernism (Art)  Search this
Citation:
Stuart Davis papers, 1934-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davistua
See more items in:
Stuart Davis papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9250aafeb-5746-43ec-a9c0-386344dd31b3
EDAN-URL:
ead_collection:sova-aaa-davistua

Duane Hanson papers

Creator:
Hanson, Duane  Search this
Correspondent:
O.K. Harris Gallery (New York, N.Y.)  Search this
Bush, Martin H.  Search this
Hanson, Dewey  Search this
Karp, Ivan C., 1926-2012  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Sketchbooks
Video recordings
Visitors' books
Date:
1935-2006
Summary:
The papers of Florida realist sculptor Duane Hanson date from 1935-2006 and measure 12.9 linear feet. Hanson's career is documented through biographical information, personal business records, correspondence, subject files, artwork, writings, printed materials, and photographs. There are numerous letters from the O.K. Harris Gallery and Ivan Karp, Dr. Martin Bush at Witchita State University, and Dewey Hanson.
Scope and Contents:
The papers of Florida realist sculptor Duane Hanson date from 1935-2006 and measure 12.9 linear feet. Hanson's career is documented through biographical information, personal business records, correspondence, subject files, artwork, writings, printed materials, and photographs. There are numerous letters from the O.K. Harris Gallery and Ivan Karp, Dr. Martin Bush at Witchita State University, and Dewey Hanson.

The bulk of the collection consists of correspondence and includes personal letters, fan mail, and correspondence with museums, galleries, universities, friends, and colleagues. Subject files also include scattered correspondence but typically contain printed materials and scattered business records. There is a slight overlap between the correspondence files and the subject files.

Biographical materials include a guestbook spanning 1978-1994 from many exhibitions. Also found are four videos, mostly of Hanson's television appearances and exhibitions. Personal business records contain loan records, damage reports, and expense records. Scattered writings include statements by Hanson about his artwork. Also found within the papers is one sketchbook and a few loose sketches. Printed materials largely consist of clipping files and exhibition catalogs. There are photographs are of Duane Hanson and his father Dewey, and of Hanson depicted with various works of art, as well as slides.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material 1978-1994 (Box 1; 0.6 linear feet)

Series 2: Personal Business records, circa 1960s-1996 (Box 1-2; 0.5 linear feet)

Series 3: Correspondence, 1963-2006 (Box 2-8; 5.8 linear feet)

Series 4: Subject Files, 1935-1996 (Box 8-9; 1.1 linear feet)

Series 5: Writings and Notes, 1970-1988 (Box 9; 0.2 linear feet)

Series 6: Artwork, circa 1980-circa 1984 (Box 9; 0.3 linear feet)

Series 7: Printed Material, 1958-1994 (Box 9-14; 4.0 linear feet)

Series 8: Photographs, 1978-1990 (Box 14; 0.1 linear feet)
Biographical / Historical:
Sculptor and educator Duane Hanson (1925-1996) spent most of his career in South Florida and is best known for his hyper-realist sculptures of people. Duane Hanson was born January 17, 1925 in Alexandria, Minnesota. His family later moved to Parkers Prairie, Minnesota where he created his first sculpture in wood at the age of 13. He graduated from Macalester College in St. Paul, Minnesota and completed his education with an MFA from the Cranbrook Academy of Art in Michigan. During school and after, Hanson created realistic and grotesque sculptures of taboo subjects and other sculptures depicting physically violent occurrences.

In 1962, Hanson accepted a teaching position at Oglethorpe University in Atlanta, Georgia where he remained for three years. At Oglethorpe, Hanson received grant funds to create his most well-known works out of resin and fiberglass. He moved to South Florida in 1965, where he continued to sculpt life-size human forms with detailed features and accessories.

Art dealer Ivan Karp at O.K. Harris Gallery took an interest in the works and represented Hanson, who moved to New York City to continue his career. He exhibited at numerous solo exhibitions in the United States and Germany. In 1973, Hanson returned to South Florida where he would remain for the duration of his life. His retained the national spotlight, however, and was very active in the Florida art scene. He was named Florida Ambassador of the Arts in 1983. Duane Hanson married his second wife, Wesla in 1968, with whom he had two children. Also, he had two children from a previous marriage which ended in divorce. Hanson died of cancer in January of 1996.
Related Materials:
The Archives of American Art also holds an oral history interview with Duane Hanson conducted on 1989 August 23-24 by Liza Kirwin.
Provenance:
Duane Hanson's widow, Wesla Hanson, donated his papers in two accretions in 1997 and 2006. Additions are expected.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors -- Florida  Search this
Genre/Form:
Sketches
Sketchbooks
Video recordings
Visitors' books
Citation:
Duane Hanson papers, 1935-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hansduan
See more items in:
Duane Hanson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97795d298-638d-4015-81ee-8e3b4577d93d
EDAN-URL:
ead_collection:sova-aaa-hansduan

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