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Oral history interview with Peter Rodriguez, 2004 October 23-24

Interviewee:
Rodriguez, Peter, 1926-  Search this
Rodriguez, Peter, 1926-  Search this
Interviewer:
Wagner, Nora  Search this
Subject:
Garcia, Rupert  Search this
Hernandez, Ester  Search this
Williams, Adriana  Search this
Reyes Ferreira, Jesus  Search this
Tamayo, Rufino  Search this
Ybarra-Frausto, Tomás  Search this
Dickey, Terry P.  Search this
Galería de la Raza (San Francisco, Calif.)  Search this
Mexican Museum  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- California -- San Francisco -- Interviews  Search this
Sculptors -- California -- San Francisco -- Interviews  Search this
Art -- Collectors and collecting -- California -- San Francisco -- Interviews  Search this
Art -- Philosophy  Search this
Record number:
(DSI-AAA_CollID)13148
(DSI-AAA_SIRISBib)249267
AAA_collcode_rodrig04
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_249267
Online Media:

Robert Smithson and Nancy Holt papers, 1905-1987, bulk 1952-1987

Creator:
Smithson, Robert, 1938-1973  Search this
Holt, Nancy, 1938-  Search this
Smithson, Robert, 1938-1973  Search this
Subject:
Wheeler, Dennis  Search this
Valledor, Leo  Search this
Dibbets, Jan  Search this
Atkinson, Terry  Search this
Andre, Carl  Search this
Insley, Will  Search this
Heizer, Michael  Search this
Holt, Nancy  Search this
Dwan, Virginia  Search this
Flavin, Dan  Search this
Graham, Dan  Search this
Haacke, Hans  Search this
Lippard, Lucy R.  Search this
Long, Richard  Search this
Oppenheim, Dennis  Search this
Jenney, Neil  Search this
Johnson, Ray  Search this
Kepes, Gyorgy  Search this
LeWitt, Sol  Search this
Dwan Gallery (New York, N.Y.)  Search this
Herbert F. Johnson Museum of Art  Search this
Type:
Interviews
Sketches
Scrapbooks
Greeting cards
Photographs
Transcripts
Motion pictures (visual works)
Topic:
Sculptors -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Earthworks (Art)  Search this
Filmmakers -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)7105
(DSI-AAA_SIRISBib)209239
AAA_collcode_smitrobe
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209239
Online Media:

Betty Parsons Gallery records and personal papers

Creator:
Parsons, Betty  Search this
Names:
Betty Parsons Gallery  Search this
Bess, Forrest, 1911-1977  Search this
Congdon, William, 1912-1998  Search this
Pollock, Jackson, 1912-1956  Search this
Reinhardt, Ad, 1913-1967  Search this
Rothko, Mark, 1903-1970  Search this
Extent:
61.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Interviews
Video recordings
Drawings
Date:
1916-1991
bulk 1946-1983
Summary:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Scope and Content Note:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement:
The collection is arranged as seven series. Many of the series are further divided into subseries.

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)
Historical Note:
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Related Material:
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
Separated Material:
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Provenance:
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Gallery owners -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women art dealers  Search this
Women artists  Search this
Abstract expressionist  Search this
Genre/Form:
Sketchbooks
Interviews
Video recordings
Drawings
Citation:
Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parsbett
See more items in:
Betty Parsons Gallery records and personal papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parsbett
Online Media:

Bernard Langlais papers

Creator:
Langlais, Bernard, 1921-1977  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Drawings
Date:
circa 1925-2010
Summary:
The papers of Bernard Langlais measure 13.3 linear feet and date from circa 1925 to 2010. The papers document Langlais' career as a painter and sculptor through correspondence with friends, colleagues, and art institutions and organizations; writings; exhibition records, video recordings about Langlais, resumes, and other professional activity files; appraisals, invoices, inventories, and other personal business records; newspaper and magazine clippings, exhibition announcements and catalogs, and press releases; as well as scrapbooks, drawings, sketchbooks, and photographic material of Langlais and his artwork.
Scope and Contents:
The papers of Bernard Langlais measure 13.3 linear feet and date from circa 1925 to 2010. The papers document Langlais' career as a painter and sculptor through correspondence with friends, colleagues, and art institutions and organizations; writings; exhibition records, video recordings about Langlais, resumes, and other professional activity files; appraisals, invoices, inventories, and other personal business records; newspaper and magazine clippings, exhibition announcements and catalogs, and press releases; as well as scrapbooks, drawings, sketchbooks, and photographic material of Langlais and his artwork.
Arrangement:
The collection is arranged into eight series.

Series 1: Correspondence, 1940-2005 (1.4 linear feet; Boxes 1-2)

Series 2: Writings, circa 1959-1979 (0.1 linear feet; Box 2)

Series 3: Professional Activity Files, 1948-2010 (2.7 linear feet; Boxes 2-4, FC 23-24)

Series 4: Personal Business Records, 1962-2004 (2.2 linear feet; Boxes 5-7)

Series 5: Printed Material, 1941-2008 (1.9 linear feet; Boxes 7-9, 15)

Series 6: Scrapbooks, 1935-1979 (0.7 linear feet; Box 9, 15-16)

Series 7: Artwork, circa 1937 (2.1 linear feet; Box 9, 12-14, OV 17-22)

Series 8: Photographic Material, 1936-2001 (2.2 linear feet; Boxes 10-11, 14-15)
Biographical / Historical:
Bernard Langlais (1921-1977) was a sculptor and painter in Cushing, Maine. Langlais was born in Old Town, Maine. He attended the Corcoran School of Art, moved to New York, and became a close friend of many of the rising New York artists. Tiring of the New York competitive art scene, he returned to Maine, abandoned abstract painting, and achieved considerable success with monumental wooden outdoor sculpture.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Bernard Langlais conducted by Robert Brown on February 21, 1973.
Provenance:
The bulk of the collection was donated 2015 by Colby College Museum of Art via Paige Doore, Curricular Registrar, who received the papers as a bequest from Helen Langlais. Papers on reels 859-860 were lent for microfilming in 1974 by Langlais and subsequently donated in 1997 with additional papers by Helen Friend Langlais, Langlais' widow. One video recording, "Noon Exercise: Bernard Langlais" was donated in 1981 by WCBB-TV, Lewiston, ME via Harriet Passerman, Cultural Affairs Director.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
Video recording "Noon Exercise: Bernard Langlais" is publication restricted. Authorization to quote or reproduce for purposes of publication requires written permission from WCBB-TV, Lewiston, Maine. 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.
Occupation:
Sculptors -- Maine  Search this
Painters -- Maine  Search this
Genre/Form:
Video recordings
Drawings
Citation:
Bernard Langlais papers, circa 1925-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.langbern
See more items in:
Bernard Langlais papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-langbern

Maren Hassinger papers

Creator:
Hassinger, Maren  Search this
Names:
Maryland Institute, College of Art  Search this
Nengudi, Senga, 1943-  Search this
Extent:
11.3 Linear feet
4.55 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Video recordings
Diaries
Date:
1955-2018
Summary:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material; personal and professional correspondence; and writings; as well as project and exhibition files; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including teaching files; photographic material; and artwork and artifacts.
Scope and Contents:
The papers of African American artist and educator Maren Hassinger measure 11.3 linear feet and 4.55 gigabytes, dating from 1955 to 2018. The collection contains biographical material including appointment and address books, education records, family and other home movie recordings, interview transcripts, and resumes; personal and professional correspondence; and writings including diaries, notebooks, notes, and writings by others. Also included are project and exhibition files, including accompanying audiovisual material and performance recordings; material related to Hassinger's tenure at the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA); material related to other professional activities, including other teaching files, panels, and grants; printed material; photographic material depicting Maren Hassinger, other individuals, and works of art, including student work; and artwork and artifacts.
Arrangement:
This collection is arranged as nine series.

Series 1: Biographical Material, 1959-2001, 2013-circa 2015 (Box 1; 0.5 linear feet, ER01; 0.001 GB)

Series 2: Correspondence, 1961-2018 (Boxes 1-2; 1 linear foot, ER02; 3.01 GB)

Series 3: Writings, 1955-2017 (Boxes 2-3; 0.7 linear feet)

Series 4: Project and Exhibition Files, 1966, 1982-2015 (Boxes 3-4, OV 12; 1.5 linear feet, ER03-ER04; 1.31 GB)

Series 5: Rinehart School of Graduate Sculpture/MICA Files, circa 1960s-2018 (Boxes 4-5; 1.4 linear feet)

Series 6: Professional Activities, circa 1969-2017 (Boxes 5-6; 0.8 linear feet, ER05; 0.006 GB)

Series 7: Printed Material, 1960-2018 (Boxes 6-9, OVs 12-15; 2.9 linear feet)

Series 8: Photographic Material, 1969-2010s (Boxes 9-10, OV 12, Box 16; 2.2 linear feet, ER06; 0.224 GB)

Series 9: Artwork and Artifacts, circa 1960s-2010s (Box 11; 0.3 linear feet)
Biographical / Historical:
Maren Hassinger (1947- ) is an African American artist in New York known for sculpture, performance, and public art in which she uses natural and industrial materials. She was also an educator and is the director emeritus of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art in Baltimore, MD.

Born Maren Jenkins in Los Angeles, California in 1947, Hassinger studied dance and sculpture at Bennington College, earning a Bachelor of Arts in sculpture in 1969. In 1973 she completed a Master of Fine Arts in fiber structure at UCLA.

During her time in Los Angeles, Hassinger began to collaborate with Senga Nengudi — a collaborative relationship that has continued throughout their careers. She also participated in the Studio Z collective with Nengudi, Ulysses Jenkins, David Hammons, and Houston Conwill.

Hassinger taught at the State University of New York, Stony Brook from 1992 to 1997 and was the director of the Rinehart School of Graduate Sculpture at the Maryland Institute College of Art from 1997 to 2018. Throughout her career, she has been awarded numerous residencies, awards, and grants. Her work is held in many collections including the Baltimore Museum of Art, the California African American Museum, the Hammer Museum, and the Studio Museum in Harlem.
Provenance:
The Maren Hassinger papers were donated to the Archives of American Art in 2018 by Maren Hassinger.
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 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
Educators -- Maryland -- Baltimore  Search this
Performance artists -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Video recordings
Diaries
Citation:
Maren Hassinger papers, 1955-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hassmare
See more items in:
Maren Hassinger papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hassmare

Merrell Gage papers

Creator:
Gage, Merrell, b. 1892  Search this
Names:
Borglum, Gutzon, 1867-1941  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1911-1982
Summary:
The papers of sculptor and educator Merrell Gage measure 0.7 linear feet and date from 1911 to 1982. The papers document his career in Kansas and California through biographical material, correspondence, writings, printed material, artwork, and photographs, as well as a scrapbook and a photograph album.
Scope and Contents:
The papers of sculptor and educator Merrell Gage measure 0.7 linear feet and date from 1911 to 1982. The papers document his career in Kansas and California through biographical material, correspondence, writings, printed material, artwork, and photographs, as well as a scrapbook and a photograph album.
Arrangement:
This collection is arranged as one series.
Biographical / Historical:
Sculptor Robert Merrell Gage (1892-1981), known as Merrell Gage, was born in Topeka, Kansas in 1892. He studied at the Art Students League in 1911 and at the Robert Henri School of Art and also served as an apprentice to Gutzon Borglum from 1914 to 1916 and again from 1921 to 1923. Borglum was a tremendous influence on Gage. His wife Marian was a painter.

Gage taught at Washburn College in Kansas, ca. 1915-1916; the Kansas City Art Institute, 1915-1916 and 1919-1921; and the University of Southern California at Los Angeles, ca. 1925-1958. In 1955, Gage's film, "The Face of Lincoln," won an Academy Award in the two-reel short subject category. Merrell Gage died in 1981.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Merrell Gage conducted by Betty Hoag on May 27, 1964.
Provenance:
The Merrell Gage papers were donated to the Archives of American Art in 1995 by Jean Gage, daughter of Merrell Gage.
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 rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California  Search this
Sculptors -- Kansas  Search this
Educators -- California -- Los Angeles  Search this
Educators -- Kansas  Search this
Topic:
Sculpture, American  Search this
Citation:
Merrell Gage papers, 1911 to 1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gagemerr
See more items in:
Merrell Gage papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gagemerr
Online Media:

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

Oral history interview with Margaret Tomkins, 1984 June 6

Interviewee:
Tomkins, Margaret, 1916-2002  Search this
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
Topic:
Abstract expressionism  Search this
Women artists -- Washington (State) -- Interviews  Search this
Artists -- Northwestern States -- Interviews  Search this
Art, Modern -- Northwestern States  Search this
Painters -- Washington (State) -- Seattle -- Interviews  Search this
Art, American -- Northwestern States  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:

Oral history interview with John W. Rhoden, 1968 July 21

Interviewee:
Rhoden, John, 1918-  Search this
Rhoden, John, 1918-  Search this
Interviewer:
Ghent, Henri, 1926-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Sculpture, Modern -- 20th century -- History -- New York (State) -- New York  Search this
African American artists  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Theme:
African American  Search this
Record number:
(DSI-AAA_CollID)11469
(DSI-AAA_SIRISBib)213047
AAA_collcode_rhoden68
Theme:
African American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213047

Oral history interview with Robert Richenburg, 1968 August 27

Interviewee:
Richenburg, Robert, 1917-2006  Search this
Richenburg, Robert, 1917-2006  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Subject:
Cornell University.  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Art -- Political aspects  Search this
Art -- Technique  Search this
Minimal art  Search this
Painters -- New York (State) -- Ithaca -- Interviews  Search this
Pop art  Search this
Sculptors -- New York (State) -- Ithaca -- Interviews  Search this
Vietnamese Conflict, 1961-1975  Search this
Record number:
(DSI-AAA_CollID)12559
(DSI-AAA_SIRISBib)214131
AAA_collcode_richen68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214131
Online Media:

A. Contini & Son records

Creator:
A. Contini & Son  Search this
Names:
Baker, Bryant, 1881-1970  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Contini, Attilio J., 1884-1960  Search this
Contini, Cesare, 1907-  Search this
Evans, Rudulph, 1878-1960  Search this
Fraser, James Earle, 1876-1953  Search this
Fraser, Laura Gardin, 1889-1966  Search this
Gregory, John, 1879-1958  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Huntington, Anna Hyatt, 1876-1973  Search this
Lachaise, Gaston, 1882-1935  Search this
Moore, Bruce, 1905-1980  Search this
Proctor, Alexander Phimister, 1862-1950  Search this
Recchia, Richard, 1885-1983  Search this
Rubins, David K.  Search this
Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this
Extent:
1.1 Linear feet ((partially microfilmed on two reels))
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Date:
1916-1981
Scope and Contents:
Correspondence (1916-1981); business records (1922-1971); notes (undated and 1929); interview transcript (1978); printed material (1929-1981); and photographs (1920-1945).
REELS 3612-3613: Correspondence concerning work done by the Continis for sculptors, including letters from Bryant Baker, A. Stirling Calder, Rudolph Evans, James Earle Fraser, John Gregory, Walker Hancock, Anna Hyatt Huntington, Gaston Lachaise, Bruce Moore, A. Phimister Proctor, Richard Recchia, David Rubins, and Adolph Weinman; photographs of the Contini family and of works of art, including "End of the Trail" by James Earle Fraser and works by Rudolph Evans, Anna Hyatt Huntington, and Richard Recchia (1920-1945); Attilio Contini's address book; and a notebook listing works of art.
Also, receipts and invoices addressed to various sculptors (1922-1971) and a contract for work on Frederic Remington's sculpture "Coming Through the Rye" for the National Cowboy Hall of Fame; a transcript of an interview with Cesare Contini conducted by George Gurney on August 26, 1978; clippings (1950-1981), exhibition catalogs (1929-1939), and 2 programs for the unveiling of the Martin Luther monument in Baltimore, Maryland (1936) and the Bing Crosby statue in Spokane, Washington (1981).
UNMICROFILMED: Three undated photographs mounted on board of historical panels at the West Point Library executed by Laura Gardin Fraser.
Biographical / Historical:
Plaster casting firm; New York, N.Y. Following training in Italy, Attilio (1884-1960) and his son Cesare (b. 1907) came to America and operated A. Contini and Son, New York, N.Y, making plaster molds for sculptures by wide group of artists, including James Earle Fraser, Ivan Mestrovic, Herbert Haseltine, A. Stirling Calder, Adolph Weinman, Gaston Lachaise, and Gertrude Vanderbilt Whitney.
Provenance:
Donated 1984 by Cesare Contini.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Sculptors  Search this
Topic:
Plaster casts  Search this
Sculpture -- Technique  Search this
Genre/Form:
Drawings
Interviews
Identifier:
AAA.acontson
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-acontson

Ed Dwight Interview

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Dwight, Edward, Jr., 1933-  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Interviews
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1970s
Scope and Contents:
Sculptor Ed Dwight talks about his work and process. He provides detailed description of working with wax and bronze, modeling, casting, working with molds, and other sculpting techniques and processes. Dwight also speaks of the Black Frontier Spirit Series exhibit, at the behest of the National Park Service, at the St. Louis Arch Museum; using bronze to tell stories of African Americans; discovering lack of African American artists when he was studying art and artists; artistic heritage of Africans; and study of black man as accomplisher, creator, image maker, and sculptor.
Interview. Part of ACM Museum Events, PR, and Ceremonies Recordings. Undated.
Local Numbers:
ACMA AV003286-2

ACMA AV003308
General:
Title created by ACMA based on transcription from physical asset and contents of recording.
Collection Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
Sculptors  Search this
African American sculptors  Search this
Sculpture  Search this
African American artists  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Ed Dwight Interview, Record Group AV09-023, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-023, Item ACMA AV003286-1
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-023-ref543

John Gregory papers

Creator:
Gregory, John, 1879-1958  Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Extent:
0.2 Linear feet ((55 items))
Type:
Collection descriptions
Archival materials
Date:
1924-1966
Scope and Contents:
Correspondence, legal agreements, financial statements, and photographs of works related to several of Gregory's sculpture commissions, including the Folger Shakespeare Library, Washington, D.C., the Federal Reserve, Washington, D.C., the 1939 New York World's Fair, the Pennsylvania Society of Sons of the Revolution, and Fairmont Park, Pennsylvania.
Biographical / Historical:
Sculptor, lecturer; New York, N.Y. Born in London, England; studied at the American Academy in Rome, and Ecole des Beaux-Arts.
Provenance:
Transferred 1979 by the National Collection of Fine Arts to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Identifier:
AAA.gregjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gregjohn

John DeWitt papers

Creator:
DeWitt, John, 1910-1984  Search this
Names:
America 1976 (1976-1978: Washington, D.C.)  Search this
American artist and water reclamation (1973: Washington, D.C.)  Search this
Hereward Lester Cooke Foundation  Search this
United States. Bureau of Reclamation  Search this
Celmins, Vija, 1938-  Search this
Dodd, Lamar  Search this
Magafan, Ethel, 1915 or 6-1993  Search this
McCoy, Ann Wyeth  Search this
Raffael, Joseph, 1933-  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Photographs
Scrapbooks
Date:
1962-1979
Summary:
The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs sponsored by the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are correspondence concerning the department's art projects and exhibition files for The American Artist and Water Reclamation, 1972, and America 1976.
Scope and Content Note:
The scattered papers of federal arts administrator John DeWitt date from 1962-1979, and measure 1.4 linear feet. The collection primarily documents 1970s arts programs organized by DeWitt while working for the U.S. Bureau of Reclamation, an agency of the Department of the Interior. Found within the papers are scattered correspondence concerning the department's art projects, including the Preservation of Endangered Species Art Program and activities of the Hereward Lester Cooke Foundation. There are letters from artists Vija Celmins, Lamar Dodd, and Ethel Magafan.

Files for the two exhibitions organized by DeWitt for the U.S. Bureau of Reclamation, The American Artist and Water Reclamation and America 1976, include a wide variety of materials. There are correspondence, lists of artwork, printed materials, a scrapbook, financial materials, audio recordings of interviews with DeWitt, audio recordings of a symposium on America 1976, and numerous photographs of exhibited artwork and participating artists. There are also additional photographs of DeWitt and his colleagues and artists Joseph Raffael and Ann Wyeth McCoy.
Arrangement:
The collection is arranged as 3 series; each series is arranged chronologically.

Series 1: Correspondence, 1965-1979 (Box 1; 10 folders)

Series 2: Exhibition Files, 1962-1978 (Box 1, 2; 1.3 linear feet)

Series 3: Photographs, 1970-1974 (Box 2; 1 folder)
Biographical Note:
John DeWitt was born in 1910 and was a wood sculptor and federal arts administrator in Washingon, D.C.

DeWitt began his career as a professional writer and was a wood sculptor connected with the Veerhoff Gallery in Washington, D.C. His wife, Miriam Hapgood DeWitt, was a painter. In the late 1960s, DeWitt was the Director of Art Programs for the Bureau of Reclamation, an agency of the Department of Interior responsible for water conservation in arid regions of the United States. At this time, the Bureau initiated a program to present its accomplishments to the public through arts commissions and exhibitions. Under the direction of DeWitt and Lloyd Goodrich of the Whitney Museum of American Art, some 40 artists including Ralston Crawford, Peter Hurd, and Norman Rockwell, were invited to depict the scope of reclamation projects in the American West. The artists were given a free hand to depict any scene in any medium as long as the subject matter pertained to the Bureau of Reclamation's program. The resulting artwork was displayed in an exhibition, The American Artist and Water Reclamation, that opened at the National Gallery of Art in April 1972, and then toured the country in a traveling exhibition sponsored by the Smithsonian Institution.

As the Director of the Visual Arts Program for the Department of the Interior, DeWitt celebrated the Bicentennial by organizing the exhibition America 1976, for which he hired over forty realist painters including Vija Celmins, Ralston Crawford, Alex Katz, Philip Pearlstein, and Wayne Thiebaud, to depict a diverse range of Americana. DeWitt was employed by the Department of the Interior until 1977.

John DeWitt died in 1984.
Provenance:
The John DeWitt papers were donated in 1987 by DeWitt's widow, Miriam Hapgood DeWitt.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Arts administrators -- Washington (D.C.)  Search this
Genre/Form:
Interviews
Sound recordings
Photographs
Scrapbooks
Citation:
John DeWitt papers, 1962-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dewijohn
See more items in:
John DeWitt papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dewijohn

Jacques Maroger papers

Creator:
Maroger, Jacques, 1884-1962  Search this
Names:
Evergreen House Foundation (Baltimore, Md.)  Search this
Ferargil Galleries  Search this
Galerie Louis Carré  Search this
Grand Central Art Galleries  Search this
Maryland Institute, College of Art  Search this
Musée du Louvre  Search this
Sagittarius Gallery (New York, N.Y.)  Search this
Six Realists Gallery (Baltimore, Md.)  Search this
Anquetin, Louis, 1861-1932  Search this
Dufy, Raoul, 1877-1953  Search this
Fry, Roger Eliot, 1866-1934  Search this
John, Augustus, 1878-1961  Search this
Kelly, Gerald, Sir, 1879-1972  Search this
Ladew, Harry  Search this
Toudu, Sure  Search this
Verne, Henri, b. 1880  Search this
Extent:
1 Linear foot ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1923-1990
Scope and Contents:
Biographical material; letters; business records; writings; notes and notebooks; printed material; photographs.
Included are a biographical sketch; letters, 1924-1958, from Louis Anquetin, Raoul Dufy, Roger Fry, Augustus John, Gerald Kelly, and Sure Toudu; letters from Henri Verne of the Louvre Museum regarding Maroger's appointment as technical director of conservation for the Louvre, 1930-1939; business records, 1948-1962, containing correspondence and receipts from galleries, museums, and publishers regarding Maroger's paintings and his book The Secret Formulas and Techniques of the Masters, among them Galerie Louis Carre & Co. (Paris), Grand Central Art Galleries (New York City), Studio Publications, and Thomas Y. Crowell publishers; a typescript of a speech delivered by Maroger at the "Conference de Londres"; typescript chapters from his book; writings by unidentifed authors on the preparation of heated oil for painting, 1923 and paint mediums, 1949; notes, undated and 2 notebooks, 1923-1937, containing research on paint mediums, pigments, techniques and the artists who used them; a scrapbook of clippings, 1930-1935 mainly from French newspapers regarding his research, and one, 1941-1949, from Baltimore and New York papers about his students at the Maryland Institute, College of Art and exhibitions of his paintings; loose clippings, 1950-1964; exhibition announcements and catalogs, 1947-1962, from Maroger's group and one-man shows at Ferargil Galleries, the Grand Central Art Galleries, including the Maroger Baltimore Group of Painters which showed there, Evergreen House Foundation, Sagittarius Gallery, the Six Realists Gallery, and elsewhere; miscellaneous printed material, 1948-1966; and photographs, 1962, 1990 and undated and a photo album, 1953-1971, of Maroger, his wife Olga, Evergreen House, and works of art (annotated with size and price); of Harry Ladew and a painting of Ladew by Maroger; and of painted furniture, possibly examples for Maroger's painted furniture designs of the Goblins Tapestries.
Biographical / Historical:
Painter, conservator; Paris, France, New York, N.Y., and Baltimore, Md. In the 1930s, Maroger was technical director of the laboratories of the Louvre Museum, a professor at the School of the Louvre, and President of the Association of French Restorers. He received the Legion of Honor in 1937. Maroger came to the U.S. in 1939 and taught at the Parsons School of Design and for 20 years at the Maryland Institute of Art in Baltimore. He studied the paint mediums of the masters, and outlined them in his book, The Secret Formulas and Techniques of the Masters (New York: Studio Publications, 1948).
Provenance:
Lent for microfilming 1992 by Simone LeFaivfre, sister of Maroger's widow Olga.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Conservators  Search this
Painters -- Maryland -- Baltimore  Search this
Topic:
Sculptors -- United States -- Interviews  Search this
Artists' studios -- Photographs  Search this
Artists' materials  Search this
Identifier:
AAA.marojacq
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marojacq

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.

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
Sculptors -- New York (State) -- New York  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
EDAN-URL:
ead_collection:sova-aaa-artsrich
Online Media:

George Tsutakawa papers

Creator:
Tsutakawa, George  Search this
Names:
University of Washington  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Date:
1963-1991
Summary:
The papers of Washington-based sculptor and educator George Tsutakawa measure 1 linear feet and date from 1963 to 1991. The papers document his career as a painter, sculptor, and teacher and include biographical material, correspondence, exhibition files, membership records, project files, and printed material.
Scope and Contents:
The papers of Washington-based sculptor and educator George Tsutakawa measure 1 linear feet and date from 1963 to 1991. The papers document his career as a painter, sculptor, and teacher and include biographical material, correspondence, exhibition files, membership records, project files, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
George Tsutakawa (1910-1997) was a Japanese American sculptor, painter, and teacher who primarily worked in Seattle, Washington. Tsutakawa was born in Seattle, but he was educated and raised in Japan from 1917 to 1927. Upon his return to Seattle, he enrolled in high school and later attended the University of Washington School of Art (1932-1937), where he majored in sculpture.

During World War II, his family was sent to the Japanese American incarceration camps, while Tsutakawa served in the U.S. Army from 1941-1945. After the war, he returned to Seattle and in 1947 he married his wife Ayame, whom he had met at one of the Japanese incarceration camps he visited in order to see and help family members during the war. That same year, Tsutakawa also started teaching at the University of Washington, where he resumed his studies and got his M.F.A. in 1950.

From the late 1950s through 1970s, Tsutakawa rose to prominence for his designs of fountains, usually made from bronze or welded steel. Over the course of his career, he designed fountains for roughly 80 commissions across the United States and Japan. During this time, he continued to teach at the University of Washington until his retirement in 1976. He died in Seattle in 1997.
Related Materials:
Also found in the Archives of American Art is an oral history interview with George Tsutakawa conducted 1983 September 8-19, by Martha Kingsbury; an oral history interview with George Tsutakawa conducted 1987 June 26-27, by his daughter Mayumi Tsutakawa; and the George Tsutakawa in Japan video project recordings.
Provenance:
The George Tsutakawa papers were donated to the Archives of American Art by George Tsutakawa in 1991.
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:
Educators -- Washington (State) -- Seattle  Search this
Sculptors -- Washington (State) -- Seattle  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Sculpture, Modern -- 20th century  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American sculptors  Search this
Asian American painters  Search this
Asian American educators  Search this
Citation:
George Tsutakawa papers, 1963-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tsutgeor2
See more items in:
George Tsutakawa papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tsutgeor2

Oral history interview with Leo Rabkin, 1968 Dec. 4

Interviewee:
Rabkin, Leo, 1919-2015  Search this
Rabkin, Leo, 1919-2015  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Subject:
Baziotes, William  Search this
Reinhardt, Ad  Search this
American Abstract Artists  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- United States -- Interviews  Search this
Painters -- New York (State) -- Interviews  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13120
(DSI-AAA_SIRISBib)212462
AAA_collcode_rabkin68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212462

Oral history interview with Anton Refregier, 1964 Nov. 5

Interviewee:
Refregier, Anton, 1905-1979  Search this
Refregier, Anton, 1905-1979  Search this
Interviewer:
Trovato, Joseph S., 1912-1983  Search this
Subject:
Federal Art Project (N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Mural painting and decoration -- New York (State)  Search this
Federal aid to the arts  Search this
Painters -- New York (State) -- Woodstock -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12689
(DSI-AAA_SIRISBib)213745
AAA_collcode_refreg64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213745
Online Media:

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

Interviewee:
Torres Llorca, Rubén, 1957-  Search this
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:

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