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Lily Shore papers, 1939-1976

Creator:
Shore, Lily  Search this
Citation:
Lily Shore papers, 1939-1976. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women sculptors  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8712
(DSI-AAA_SIRISBib)210893
AAA_collcode_shorlily
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210893

Marie Romero Cash papers, 1981-2021

Creator:
Cash, Marie Romero, 1942-  Search this
Type:
Sketchbooks
Citation:
Marie Romero Cash papers, 1981-2021. Archives of American Art, Smithsonian Institution.
Topic:
Santeros  Search this
Latino and Latin American artists  Search this
Women artists  Search this
Women sculptors  Search this
Theme:
Latino and Latin American  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)17505
(DSI-AAA_SIRISBib)390313
AAA_collcode_cashmari
Theme:
Latino and Latin American
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_390313

Oral history interview with Margaret Tomkins, 1984 June 6

Interviewee:
Tomkins, Margaret, 1916-2002  Search this
Interviewer:
Guenther, Bruce  Search this
Subject:
FitzGerald, James  Search this
Artists Gallery (Seattle, Wash.)  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Margaret Tomkins, 1984 June 6. Archives of American Art, Smithsonian Institution.
Topic:
Abstract expressionism  Search this
Artists -- Northwestern States -- Interviews  Search this
Art, Modern -- Northwestern States  Search this
Women artists  Search this
Women painters  Search this
Record number:
(DSI-AAA_CollID)12308
(DSI-AAA_SIRISBib)212455
AAA_collcode_tomkin84
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212455
Online Media:

Marie Romero Cash papers

Creator:
Cash, Marie Romero  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1981-2021
Summary:
The Marie Romero Cash papers measure 0.7 linear feet and date from circa 1981 to 2021. The papers document Cash's career as an artist through sketches (some annotated), a sketchbook, photographs, and printed material documenting Cash's sculptures and paintings in the Santera tradition. This also includes the originial illustrations for Santera-based book projects and one fully realized, hand-painted artist book, 'The Book of Tobit.' The book comes in a tin container, with designs in relief created by the artist. Also included is 1 CD containing an episode of 'The Muse,' an arts-based interview program produced by Boss Productions; 1 CD documenting Cash's wooden sculpture 'The Chicken Bus'; and 1 CD labeled "photos: David Alfaya for Marie Cash".
Scope and Contents:
The Marie Romero Cash papers measure 0.7 linear feet and date from circa 1981 to 2021. The papers document Cash's career as an artist through sketches (some annotated), a sketchbook, photographs, and printed material documenting Cash's sculptures and paintings in the Santera tradition. This also includes the originial illustrations for Santera-based book projects and one fully realized, hand-painted artist book, 'The Book of Tobit.' The book comes in a tin container, with designs in relief created by the artist. Also included is 1 CD containing an episode of 'The Muse,' an arts-based interview program produced by Boss Productions; 1 CD documenting Cash's wooden sculpture 'The Chicken Bus'; and 1 CD labeled "photos: David Alfaya for Marie Cash".
Arrangement:
The collection is arranged into one series

Series 1: Marie Romero Cash papers, 1981-2021 (0.7 linear feet; Box 1, OV 2-3, Artifact 4)
Biographical / Historical:
Marie Romero Cash (1942- ) is an artist and Santera (saint artist) living in Santa Fe, New Mexico. Cash has completed commissions for St. Francis Cathedral in Santa Fe, New Mexico, the Cathedral Church of St. John in Albuquerque, and for various other churches in New Mexico.
Provenance:
Donated 2017 and 2022 by Marie Romero Cash.
Restrictions:
Use of 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 -- New Mexico -- Santa Fe  Search this
Topic:
Santeros  Search this
Latino and Latin American artists  Search this
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sketchbooks
Citation:
Marie Romero Cash Papers, 1981-2021. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cashmari
See more items in:
Marie Romero Cash papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw932a73bb7-31b8-4b14-90df-87ce718f9f3c
EDAN-URL:
ead_collection:sova-aaa-cashmari

Lily Shore papers

Creator:
Shore, Lily  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1939-1976
Summary:
The papers of sculptor Lily Shore measure 0.2 linear feet and date from 1939 to 1976. Found is a resume and two portraits of Shore, photographs of works of art, and printed material. Of note is Shore's copy of a 1939 exhibition catalog of the United American Sculptors, signed by many artists.
Scope and Contents:
The papers of sculptor Lily Shore measure 0.2 linear feet and date from 1939 to 1976. Found is a resume and two portraits of Shore, photographs of works of art, and printed material. Of note is Shore's copy of a 1939 exhibition catalog of the United American Sculptors, signed by many artists.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Lily Shore was a sculptor in New York City, New York. She participated in the Works Progress Administration, Federal Art Project.
Provenance:
Donated 1979 by Lily Shore.
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 -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women sculptors  Search this
Citation:
Lily Shore papers, 1939-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shorlily
See more items in:
Lily Shore papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9bc819702-f4ca-4c5c-97fa-1586ce5a3760
EDAN-URL:
ead_collection:sova-aaa-shorlily

Lily Shore Papers

Collection Creator:
Shore, Lily  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
1939-1976
Scope and Contents:
Biographical materials include a curriculum vitae and two portraits of Lily Shore in her studio with sculpture. Additional photographs and slides are of Shore's sculpture. Printed materials include a clipping and exhibition catalogs for group and solo exhibitions. Of note is a catalog for the United American Sculptors exhibit (1939) in which Shore participated. Shore's copy of the catalog is signed by artists including Jose de Creeft, Helene Durant, Ernest Guteman, JOhn Hovannes, Ben Karp, Josephine Levy, Charles Montalbano, Francois H. Rubitschung, Robert Russin, David Smith, Saverio Sulmonetti, Raymond Turner, and Mary Tuthill.
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.
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:
Lily Shore papers, 1939-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shorlily, Series 1
See more items in:
Lily Shore papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99df980e6-d801-4ad1-af25-080f9a044020
EDAN-URL:
ead_component:sova-aaa-shorlily-ref3

Cleve Gray papers, 1933-2005

Creator:
Gray, Cleve, 1918-2004  Search this
Subject:
Richter, Hans  Search this
Marin, John  Search this
Lipchitz, Jacques  Search this
Pollock, Jackson  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Duchamp, Marcel  Search this
Dillenberger, Jane  Search this
Gabo, Naum  Search this
Ernst, Jimmy  Search this
Davis, Jim  Search this
Calder, Alexander  Search this
Barzun, Jacques  Search this
Weber, Nicholas Fox  Search this
Smith, David  Search this
Villon, Jacques  Search this
Pratt Institute  Search this
Rhode Island School of Design  Search this
Neuberger Museum of Art  Search this
Jacques Seligmann & Co  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Princeton University  Search this
Berry-Hill Galleries  Search this
Type:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9567
(DSI-AAA_SIRISBib)211768
AAA_collcode_grayclev
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211768
Online Media:

Oral history interview with Jim Sanborn

Interviewee:
Sanborn, Jim, 1945-  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
1 Item (data compact disc (6 hr., 32 min.) 4 tracks, digital, WMA files)
108 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 July 14-16
Scope and Contents:
An interview of Jim Sanborn conducted 2009 July 14-16, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Sanborn's home, in Washington, D.C.
Sanborn speaks of his father, Herbert James Sanborn, who worked at the Library of Congress and was also an artist; his education, including attending Randolph-Macon College, taking a course in archaeology at Oxford University, and attending the Pratt Institute; his interest in medieval history and art; how he began to create public art; the difference between his public art and his gallery work; his residency at Glen Echo Park, VA; working on General Services Administration (GSA) commissions; the commissioning, conceptualization, and creation process behind his artwork Kryptos (1990) at CIA headquarters; the media sensation surrounding Kryptos; the importance of secrecy in his work; the process of engineering waves for Coastline (1993) at the National Oceanic and Atmospheric headquarters; his recreation of a particle generator for the exhibition Atomic Time (2003); incorporating science and technology into his work; and how his work changed after 9/11. Sanborn also recalls Jack and Nancy Witt, Nancy Holt, Mark di Suvero, Raya Bodnarchuk, Isamu Noguchi, Gene Davis, Max Protetch, Walter Hopps, Yuri Schwebler, Ned Rifkin, Gordon Hanes, and others.
Biographical / Historical:
Jim Sanborn (1945- ) is a sculptor in Washington, D.C. Sanborn is known for his use of stone and cryptography. Full name is Herbert James Sanborn, Jr.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 4 digital wav files. Duration is 6 hr., 30 min.
Provenance:
This interview is 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 administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Topic:
Sculptors -- Washington (D.C.) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sanbor09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98cc76089-e934-41be-b227-746f85bf8f0c
EDAN-URL:
ead_collection:sova-aaa-sanbor09
Online Media:

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
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:
Sculptors -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Oral history interview with Larry Kirkland

Interviewee:
Kirkland, Larry, 1950-  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
4 Items (Sound recording: 4 sound files (6 hr., 26 min.), digital, wav file)
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 Aug. 26-27
Scope and Contents:
An interview of Larry Kirkland conducted 2009 Aug. 26-27, by Avis Berman, for the Archives of American Arts' U.S. General Services Administration, Design Excellence and the Arts oral history project, at Kirkland's studio, in Washington, D.C.
Biographical / Historical:
Larry Kirkland (1950- ) is a sculptor in Washington, D.C. Kirkland has done public art installation pieces for The American Red Cross, and the National Academy of Sciences, as well as numerous international commissions.
Provenance:
This interview is 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 administrators.
Rights:
Authorization to quote or reproduce for the purposes of publication requires written permission from Larry Kirkland. Contact Reference Services for more information.
Topic:
Sculptors -- Washington (D.C.) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kirkla09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9397c9c75-c869-4a6f-8bc6-4e4cf446fa7d
EDAN-URL:
ead_collection:sova-aaa-kirkla09

Sanford Schwartz papers

Creator:
Schwartz, Sanford, 1946-  Search this
Names:
Alexandre Gallery  Search this
Whitney Museum of American Art  Search this
Hofmann, Hans, 1880-1966 -- Photographs  Search this
King, William, 1925-2015  Search this
Stout, Myron, 1908-1987  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
1948-2011
Summary:
The papers of exhibition curator Sanford Schwartz measure 0.7 linear feet and date from 1948-2011. The papers document the preparation and organization of two exhibitions curated by Schwartz, the Myron Stout retrospective at the Whitney Museum of American Art in 1980, and The Early Work of William King at Alexandre Gallery in New York City in 2007. Materials regarding Provincetown, Massachusetts painter Myron Stout (1908-1987) include correspondence with Stout and lenders to the exhibition; notes, writings, and sketches by Schwartz pertaining to the exhibition; and photographs of Stout, including one with Hans Hofmann teaching in Provincetown in 1948. Material regarding sculptor William King (1925-1990) includes correspondence between Schwartz and King, exhibition research and notes, photographs of artwork, and printed material.
Scope and Contents:
The papers of exhibition curator Sanford Schwartz measure 0.7 linear feet and date from 1948-2011. The papers document the preparation and organization of two exhibitions curated by Schwartz, the Myron Stout retrospective at the Whitney Museum of American Art in 1980, and The Early Work of William King at Alexandre Gallery in New York City in 2007. Materials regarding Provincetown, Massachusetts painter Myron Stout (1908-1987) include correspondence with Stout and lenders to the exhibition; notes, writings, and sketches by Schwartz pertaining to the exhibition; and photographs of Stout, including one with Hans Hofmann teaching in Provincetown in 1948. Material regarding sculptor William King (1925-1990) includes correspondence between Schwartz and King, exhibition research and notes, photographs of artwork, and printed material.
Arrangement:
The collection is arranged as two series.

Series 1: Research Material Regarding Myron Stout, 1948-1985 (Box 1, OV 3; 0.3 linear feet)

Series 2: Research Material Regarding William King, 1960-2011 (Boxes 1-2; 0.4 linear feet)
Biographical / Historical:
Sanford Schwartz (1946- ) is an exhibition curator in New York, New York.
Provenance:
Donated to the Archives of American art by Sanford Schwartz in 1980 and 2017.
Restrictions:
Use of 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 -- Massachusetts -- Provincetown  Search this
Topic:
Art -- Exhibitions -- New York (State) -- New York  Search this
Curators -- New York (State) -- New York  Search this
Painting, American  Search this
Genre/Form:
Photographs
Sketches
Citation:
Sanford Schwartz papers, 1948-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schwsanf
See more items in:
Sanford Schwartz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw974d53f7e-f675-4a6c-8531-8e0e184afd4a
EDAN-URL:
ead_collection:sova-aaa-schwsanf

State of the arts videorecordings

Creator:
Lawrence P. Fraiberg Productions  Search this
Names:
Lawrence P. Fraiberg Productions  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New Museum (New York, N.Y.)  Search this
O.K. Harris Gallery (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Campoli, Cosmo  Search this
Cavanau, Ted  Search this
Derman, Rick  Search this
Fraiberg, Lawrence P.  Search this
Karp, Ivan C., 1926-2012  Search this
Kovich, Robert  Search this
Nolan, Barry  Search this
Paik, Nam June, 1932-2006  Search this
Phillips, Liz  Search this
Rose, Barbara  Search this
Segal, George, 1924-2000  Search this
Solomon, Holly  Search this
Thorne, Joan, 1943-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Video recordings
Date:
1979
Summary:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.
Scope and Contents:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.

Although the program never aired, the video shot for the pilot documents significant artists and gallerists of its time, with profiles of O.K. Harris Works of Art and its founder, Ivan Karp, as well as art dealer Holly Solomon and critic Barbara Rose, Marcia Tucker in the early days of the New Museum, and footage of artists like Nam June Paik, Liz Phillips, and George Segal in their studios, describing their work in detail. The sound and video piece created by Paik and Phillips with the dancer Robert Kovich was commissioned by the State of the Arts producers for the pilot program, and the four hours of video documenting their collaboration and its product may therefore be unique.

Interview subjects for the economics of art story include Ivan Karp, Tom Drysdale, Rick Derman, Cosmo Campoli, Joan Thorne, Holly Solomon, Marcia Tucker, and Barbara Rose. The Marcia Tucker interview takes place at the New School, which was at the time the home of the New Museum. Footage also includes a gallery opening at O.K. Harris Works of Art. Extended interviews with Liz Phillips, Nam June Paik, and George Segal are found in the footage of their respective stories.
Arrangement:
The collection is arranged as one series.

Missing Title

Series 1: -- State of the Arts -- Production Video, 1979 (2.4 linear feet; boxes 1-3)
Biographical / Historical:
State of the Arts was planned as a broadcast television magazine program on the subject of contemporary art. The pilot was produced in 1979 by Lawrence P. Fraiberg Productions with funding provided jointly by IBM and the National Endowment for the Arts. Fraiberg and Tom Cavanau served as executive co-producers, Rick Derman as field producer, and Barry Nolan as interviewer. The program never aired.

Lawrence P. Fraiberg was a longtime television documentary veteran when the pilot was produced. He graduated from the University of California in 1949 and began his career at television station KPIX in San Francisco. He became vice president and general manager of WNEW-TV in New York in 1965, and was named president of Metromedia Television in 1977. In 1980 he was appointed president of the Television Station Group for Westinghouse Broadcasting. An active member in community and industry organizations, he is a recipient of an honorary degree (1978) from St. John's University, New York, a Peabody Award for Lifetime Achievement in the Broadcasting Industry (1986), and a Trustees Award from the National Academy of Television Arts and Sciences (1990). He died in 2011.

Barry Nolan, the interviewer for State of the Arts, went on to a career as a television magazine host and producer, with credits including Evening Magazine, Hard Copy, Extra!, and Nitebeat, and in 2012 produced the documentary No Way Out But One with his wife, Garland Waller.
Provenance:
Donated 1979-1980 by Lawrence P. Fraiberg.
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:
Authorization to quote or reproduce for purposes of publication requires written permission from Ted Cavanu, Rick Derman and Barry Nolan. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- Study and teaching  Search this
Performance art  Search this
Artists' studios  Search this
Video art  Search this
Sound sculpture -- United States  Search this
Women artists  Search this
Art -- Economic aspects  Search this
Function:
Production companies
Genre/Form:
Interviews
Video recordings
Citation:
State of the Arts Videorecordings, 1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.frailawr
See more items in:
State of the arts videorecordings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92f7d4bec-4caf-4705-8058-87f72987ab5a
EDAN-URL:
ead_collection:sova-aaa-frailawr

Ada Rasario Cecere papers

Creator:
Cecere, Ada Rasario, 1894 or 1898-1971  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1938-1972
Summary:
The scattered papers of painter and muralist Ada Cecere measure 0.2 linear feet and date from 1938 to 1972. Found are letters from artists, galleries, institutions, and museums, and photographs of Cecere's works of art.
Scope and Contents:
The scattered papers of painter and muralist Ada Cecere measure 0.2 linear feet and date from 1938 to 1972. Found are letters from artists, galleries, institutions, and museums, and photographs of Cecere's works of art.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Ada Rasario Cecere (1898-1983) was a painter, muralist, and designer active in New York City, New York, and Rome, Italy. Ada Rasario was born in New York and studied art in Paris and Rome. She married Gaetano Cecere, a Roman sculptor and together they settled in Manhattan. She was president of the Pen and Brush Society. Cecere died in New York in 1983.
Provenance:
Ada Cecere donated her papers to the Archives of American Art in 1972.
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:
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Mural painting and decoration  Search this
Women artists  Search this
Women painters  Search this
Women designers  Search this
Women educators  Search this
Women muralists  Search this
Citation:
Ada Rasario Cecere papers, 1938-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ceceada
See more items in:
Ada Rasario Cecere papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f1903057-4920-40d2-8013-ea68c4608d83
EDAN-URL:
ead_collection:sova-aaa-ceceada

Richard Artschwager papers

Creator:
Artschwager, Richard, 1923-  Search this
Names:
Adair Margo Gallery  Search this
Carpenter Center for the Visual Arts  Search this
Cornell University  Search this
Gagosian Gallery  Search this
Galerie Franck + Schulte  Search this
Harvard University  Search this
Herbert F. Johnson Museum of Art  Search this
Leo Castelli Gallery  Search this
Lorence-Monk Gallery (New York, N.Y.)  Search this
Museum Ludwig  Search this
Museum of Contemporary Art (Los Angeles, Calif.)  Search this
Museum of Fine Arts, Boston  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Skowhegan School of Painting and Sculpture  Search this
University of Wisconsin  Search this
Whitney Museum of American Art  Search this
Alloway, Lawrence, 1926-1990  Search this
Castelli, Leo  Search this
Copley, William Nelson, 1919-1996  Search this
Fischl, Eric, 1948-  Search this
Johnson, Ray, 1927-  Search this
Karp, Ivan C., 1926-2012  Search this
Katz, Alex, 1927-  Search this
Kimmelman, Michael  Search this
Lawler, Louise  Search this
LeWitt, Sol, 1928-2007  Search this
Murray, Elizabeth, 1940-  Search this
Namuth, Hans  Search this
Neuendorf, Hans  Search this
Ruscha, Edward  Search this
Schaffner, Ingrid  Search this
Schjeldahl, Peter  Search this
Waters, John, 1946-  Search this
Woodman, Betty, 1930-  Search this
Extent:
5.6 Linear feet
9.33 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Date:
1959-2013
Summary:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.
Scope and Contents:
The papers of New York painter and sculptor Richard Artschwager measure 5.6 linear feet and 9.33 GB and date from 1959-2013. The papers include extensive correspondence, recorded talks and a lecture, exhibition files, printed and digital material, and photographs.

Artschwager's correspondence is with museums, galleries, artists, art historians, academic institutions, and publishers and concerns exhibitions, speaking engagements, and teaching. Frequent correspondents include Lawrence Alloway, Leo Castelli Gallery, Gagosian Gallery, Galerie Franck + Schulte, Herbert F. Johnson Museum, Ivan Karp, Museum Ludwig, Museum of Contemporary Art, Los Angeles, Ingrid Schaffner, and the Whitney Museum of American Art. Also found are letters from fellow artists, including William Copley, Eric Fischl, Ray Johnson, Louise Lawler, Sol Lewitt, Ed Ruscha, John Waters, and Betty Woodman. Some letters are annotated or illustrated with sketches by Artschwager.

The collection includes a lecture and recorded talks by Richard Artschwager held at the University of Wisconsin, Madison, Skowhegan School of Painting & Sculpture, and the Carpenter Center of the Visual Arts, Harvard University, and other venues. One of the recordings is from the "Conversations with Contemporary Artists" series of the Museum of Modern Art. Also included in this series is a recorded discussion with artists Alex Katz and Elizabeth Murray and art critics Michael Kimmelman and Peter Schjeldahl.

Exhibition files are found for exhibitions held at Adair Margo Gallery, Lorence Monk Gallery, Museum of Fine Arts, Boston, Cornell University, and numerous others, including many in Europe. Files typically contain correspondence, price lists, announcements, printed material, photographs, and a few sound and video recordings.

Printed material includes invitations and announcements as well as posters, reproductions, and brochures, mostly related to Richard Artschwager's exhibitions. Newspaper and magazine clippings document exhibition openings and the critical reception of his work.

There are also a few photographs including images of Leo Castelli by Hans Namuth used by Artschwager in preparing for his portrait of Castelli.
Arrangement:
The collection is arranged as 5 series.

Missing Title

Series 1: Correspondence, circa 1970-2013 (Boxes 1-3; 3.0 linear feet, ER01-ER02; 0.555 GB)

Series 2: Talks and Lecture, 1985-2009 (Box 4; 0.8 linear feet, ER03-ER10; 8.77 GB)

Series 3: Exhibition Files, 1973-2007 (Boxes 4-5; 1.0 linear feet)

Series 4: Printed Material, 1959-2012 (Boxes 5-6, OV 7; 0.6 linear feet)

Series 5: Photographs, circa 1973, 2007 (Box 6, OV 8; 0.1 linear feet)
Biographical / Historical:
Richard Artschwager (1923-2013) lived and worked in New York City and Hudson, New York and was known primarily for his paintings and sculptures. Artschwager was born in Washington, D.C. and grew up in New Mexico. As a youth, Artschwager showed a talent for drawing. He studied chemistry and mathematics at Cornell University. In 1944, Artschwager interrupted his studies to enlist in the U.S. Army. After the war, he returned to Cornell to complete his Bachelor of Arts degree in 1948. Encouraged by his first wife, Elfriede Wejmelka to develop his interest in art, Artschwager moved to New York to study at the Studio School of Amédée Ozenfant. His paintings and drawings from this period were featured in two group shows at the Terrain Gallery in 1957 and at the Art Directions Gallery on Madison Avenue in 1959, where they were recognized by Donald Judd.

In the 1950s, in order to support his family, Artschwager turned to designing and manufacturing modern furniture. His woodworking skills inspired him to create sculptures from utilitarian objects such as tables, chairs, and mirrors. He is best known for the use of building materials Celotex and Formica in his work and for inventing an abstract form he called "blps" reliefs, stencils or decals that were installed randomly in museum, gallery and public spaces. From the mid-1980s to late 1990s, Artschwager designed large scale projects, though he continued to incorporate everyday domestic objects in his sculptures and paintings.

In 1965, Artschwager was given his first one-man exhibition at the Castelli Gallery and he remained with the Gallery for thirty years. He was also represented by Mary Boone, David Nolan, and the Gagosian Gallery. In the 1980s, Artschwager served on the Visual Arts Policy Committee at the National Endowment of the Arts. He was elected to the American Academy of Arts in 1992. He was a visiting artist at New Mexico State University, Soka University, Skowhegan School of Painting and Sculpture, and the University of Arizona. Artschwager's work was the subject of a major surveys, including the Kunstmuseum Winterthur, Neues Museum, and Serpentine Gallery. He participated in numerous international group shows including the Venice Biennale and Documenta in Kassel, Germany. The Whitney Museum of American Art honored Artschwager with two travelling retrospective exhibitions in 1988 and 2012. In late 2012, Artschwager had one-man shows at the Gagosian Gallery and David Nolan Gallery.

Richard Artschwager died at the age of 89 years in 2013. He is survived by his wife, Ann Sebring Artschwager and three children from previous marriages.
Related Materials:
Also found among the resources at the Archives of American Art is an oral history interview with Artschwager, March 3-28, 1972, conducted by Paul Cummings.
Provenance:
The collection was donated by Richard Artschwager and his wife Ann Artschwager in 2013.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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 critics  Search this
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Illustrated letters
Transcripts
Sketches
Photographs
Sound recordings
Video recordings
Citation:
Richard Artschwager papers, 1959-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artsrich
See more items in:
Richard Artschwager papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1669278-fbd8-48b5-832c-ad4b93ec08bd
EDAN-URL:
ead_collection:sova-aaa-artsrich
Online Media:

Oral history interview with Raymond J. Kaskey

Interviewee:
Kaskey, Raymond J., 1943-  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
1 Item (Sound recording, master: 1 data cd, 4 WMA files (6 hr.,13 min.), secure digital)
122 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 June 15-18
Scope and Contents:
An interview of Raymond J. Kaskey conducted 2009 June 15-18, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Kaskey's studio, in Brentwood, Md.
Biographical / Historical:
Raymond J. Kaskey (1943- ) is a sculptor in Washington, D.C. Avis Berman (1949- ) is an independent writer and art historian in New York, N.Y.
Provenance:
This interview is 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 administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Topic:
Sculptors -- Washington (D.C.) -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.kaskey09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e775a70a-1f01-40e2-89b9-f7dcbf67c7d8
EDAN-URL:
ead_collection:sova-aaa-kaskey09
Online Media:

Avis Berman research material on Elie Nadelman

Creator:
Berman, Avis  Search this
Names:
Nadelman, Elie, 1882-1946  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
circa 1998-2002
Summary:
Avis Berman research material on Elie Nadelman measures one linear feet and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Scope and Contents:
Avis Berman research material on Elie Nadelman measures one linear foot and dates from circa 1998-2002. The research material includes select correspondence regarding the research process, as well as notes and photocopies of material from Nadelman's personal and professional archives for the essay, "Sculptor in the Open Air: Elie Nadelman and the Folk and Popular Arts," written by Berman as a part of the publication Elie Nadelman: Classical Folk (American Federation of Arts, 2001).
Arrangement:
Due to its small size the collection is arranged in a single series.
Biographical / Historical:
Avis Berman (1949- ) is a writer, curator, and historian of American art, architecture and culture based in New York, N.Y.. She holds a bachelor's degree from Bucknell University and an master's degree from Rutgers University, both in English literature. She is the author of numerous books including Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; and Edward Hopper's New York. She was also co-author and editor of Katharine Kuh's memoir, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator. Berman has written numerous articles on subjects including painting, sculpture, photography, illustration, design, architecture, and the social history of the visual arts for a broad range of publications including The New York Times, The New York Review of Books, The Washington Post, Smithsonian, Saturday Review, The Boston Book Review, American Art, ARTnews, The San Francisco Examiner, The Boston Globe, The Philadelphia Inquirer, The Baltimore Sun, Art in America, Art & Antiques, House & Garden, and Architectural Digest. Throughout the 1980s 1990s and 2000s Avis served as a consultant for the Archives of American Art, Washington, D.C., in her capacity as interviewer for the oral history project for which she has researched and interviewed countless artists, collectors, and other figures in the art world in Europe and the United States. Since 2001, Avis Berman has overseen the Roy Lichtenstein Foundation's oral history project.
Related Materials:
Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006, research material on Juliana Force, circa 1930-2020, research material on art and artists, 1976-1994, and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.
Provenance:
Donated in 2021 by Avis Berman.
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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women art historians  Search this
Folk art  Search this
Citation:
Avis Berman research material on Elie Nadelman, circa 1998-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bermavis5
See more items in:
Avis Berman research material on Elie Nadelman
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6baa174-578f-490b-b9d3-8fe306c67e31
EDAN-URL:
ead_collection:sova-aaa-bermavis5

Grandmother Michaud Seen against the Light

Artist:
Edouard Vuillard, French, b. Cuiseaux, 1868–1940  Search this
Medium:
Oil on canvas
Dimensions:
25 5/8 x 21 1/4 in. (65 x 54 cm)
Type:
Painting
Date:
(1890)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Marion L. Ring Estate, 1987
Accession Number:
87.32
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py24cd36e2f-b41a-44de-9d81-1dc130fa72c0
EDAN-URL:
edanmdm:hmsg_87.32

Jacqueline Skiles papers, 1963-1980

Creator:
Skiles, Jacqueline Dean, 1937-  Search this
Citation:
Jacqueline Skiles papers, 1963-1980. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Feminism and art  Search this
Women sculptors  Search this
Women printmakers  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8694
(DSI-AAA_SIRISBib)210874
AAA_collcode_skiljacq
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210874

Stone, Song, and Sustaining Arts with Bogdan Hovhannisyan

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2018-10-12T00:03:47.000Z
YouTube Category:
Travel & Events  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolklife
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolklife
EDAN-URL:
edanmdm:yt_Yz6RRQzPxLQ

Mary Swift papers

Creator:
Swift, Mary  Search this
Names:
Mehring, Howard, 1931-  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Video recordings
Interviews
Date:
1973-2004
Summary:
The papers of photographer and curator Mary Swift measure 8.2 linear feet and date from 1973-2004. The bulk of the collection contains photographs that Swift took while working for the Washington Review. The images consist of photographs, contact sheets, and negatives of artists and art events in Washington, D.C. Also included are some personal papers; two video recordings of art events in Washington, D.C.; research material and a manuscript from Swift's M.A. thesis "Howard William Mehring, 1931-1978: Washington Color Painter" from George Washington University; and 105 sound recordings and two VHS videocassette tapes of interviews conducted by Swift, radio programs and panel discussions.
Scope and Contents:
The papers of photographer and curator Mary Swift measure 8.2 linear feet and date from 1973-2004. The bulk of the collection contains photographs that Swift took while working for the Washington Review. The images consist of photographs, contact sheets, and negatives of artists and art events in Washington, D.C. Also included are some personal papers; two video recordings of art events in Washington, D.C.; research material and a manuscript from Swift's M.A. thesis "Howard William Mehring, 1931-1978: Washington Color Painter" from George Washington University; and 105 sound recordings and two VHS videocassette tapes of interviews conducted by Swift, panel discussions and radio programs.
Arrangement:
This collection is arranged as four series.

Series 1: Personal Papers, 1973-1984 (Box 1, 2 Folders)

Series 2: "Howard William Mehring 1931-1978: Washington Color Painter", circa 1977-1978 (Box 1, 12 Folders)

Series 3: Photographs, circa 1977-2004 (Box 1-6, OV 7, 5.5 linear feet)

Series 4: Sound and Video Recordings, 1977-1995 (Boxes 6, 8-14, 2.3 linear feet)
Biographical / Historical:
Mary Swift (1929-2022) was a photographer and curator in Washington, D.C. She received her B.A. from Vassar College in 1950 with a major in English History. Swift then moved to London for her husband's work, and did not return to the United States until the 1960s. She received her M.A. from Catholic University's Speech and Drama Department in 1968, and an M.A. in Art History from George Washington University in 1978.

In October 1977, Swift became a production assistant for the Washington Review, a bi-monthly broadsheet on DC cultural life, while finishing her master's thesis at George Washington University. She was promoted to associate editor in 1978, and became managing editor of the arts section in 1980.

While at the Washington Review, Swift also worked as a curator and curatorial assistant on exhibitions in Washington, D.C. She worked as a curatorial assistant for Howard Mehring: A Retrospective Exhibition (1977-1978) at the Corcoran Gallery of Art; as a co-curator with Walter Hopps for the exhibition, Eminent Washington Artists: Benjamin Abramowitz, Sarah Baker, Leon Berkowitz, Robert Gates, Sy Gresser, Lois Milou Jones, Jacob Kainen, Alfred McAdams, James McLaughlin, Howard Mehring, Marjorie Phillips, John Robinson, Alma Thomas (1980), at the Art Barn Gallery; and curated, Drawings: 13 Washington Sculptors; Christenberry, Dickson, Fleps, Haley, Knights, Krebs, Lombardo, Mahoney, Puryear, Rudd, Schwebler, Staton, Truitt (1980), at the Diane Brown Gallery.

The professional appointments Swift held include exhibitions coordinator for the International Sculpture Conference in 1980 as well as board of director memberships at the Washington Gallery of Art, Charles Weidman Dance Company, the Washington Review, and the Washington Project for the Arts. Additionally, Swift was involved with her alma mater, Vassar College, in the capacity of Vice present for Programs of the Vassar Club of Washington, and Chairman of the Washington Friends of the Vassar Art Gallery.

Mary Swift's contributions to the Washington Review include photographs, reviews of art exhibitions, and interviews with artists such as choreographer Lucinda Childs and painter Robert Indiana. The exhibition catalogues Swift contributed to include Breton Morse, Paintings 1960-1978 (1978), Sy Gresser—Sculpture (1978), Howard Mehring: A Retrospective Exhibition (1977-1978), and Hands of Artists (1981)

Photographs from Swift's collection were displayed in an exhibition, Mary Swift's Washington (2005), held at Flashpoint Gallery.
Provenance:
This collection was donated in two installments in 2016 and 2018 by Mary Swift via her children, Isabel Swift Byron and William Swift.
Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. 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:
Curators -- Washington (D.C.)  Search this
Photographers -- Washington (D.C.)  Search this
Topic:
Women art critics  Search this
Genre/Form:
Sound recordings
Video recordings
Interviews
Citation:
Mary Swift Papers, 1974-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.swiftmar
See more items in:
Mary Swift papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91faa9aea-9cc2-4186-8c4c-d7e7b0d3e13f
EDAN-URL:
ead_collection:sova-aaa-swiftmar

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