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Kamekichi Tokita Papers, circa 1900-circa 2010, bulk 1900-1948

Creator:
Tokita, Kamekichi, 1897-1948  Search this
Subject:
Callahan, Kenneth  Search this
Tokita, Shokichi  Search this
Tokita, Elsie  Search this
Baker, Burt Brown  Search this
Boynton, Roy  Search this
Art Institute of Seattle  Search this
Seattle Art Museum  Search this
Hotel Cadillac  Search this
Henry Art Gallery  Search this
Public Works of Art Project  Search this
Minidoka Relocation Center  Search this
Type:
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Topic:
Art, American -- Northwestern States  Search this
World War, 1939-1945 -- Japanese Americans  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945 -- Diaries  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Art, Modern -- 20th century -- Northwestern States  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese Americans  Search this
Record number:
(DSI-AAA_CollID)10444
(DSI-AAA_SIRISBib)213849
AAA_collcode_tokikame
Theme:
Asian American
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213849
Online Media:

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

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

Kamekichi Tokita Papers

Creator:
Tokita, Kamekichi  Search this
Names:
Art Institute of Seattle  Search this
Henry Art Gallery  Search this
Hotel Cadillac (Seattle, Wash.)  Search this
Minidoka Relocation Center  Search this
Public Works of Art Project  Search this
Seattle Art Museum  Search this
Baker, Burt Brown  Search this
Boynton, Roy  Search this
Callahan, Kenneth, 1905-1986  Search this
Tokita, Elsie  Search this
Tokita, Shokichi  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Date:
circa 1900-circa 2010
bulk 1900-1948
Summary:
The scattered personal papers of Seattle area painter Kamekichi Tokita (1897-1948) measure 1.5 linear feet and date from circa 1900 to circa 2010 with the bulk of the material dating from circa 1910 to 1948. The papers include biographical materials, including documents about the closing of the War Relocation Authority's Minidoka Camp in Idaho; correspondence; three diaries written in Japanese documenting Tokita's war time experiences and relocation to Minidoka, two earlier notebooks, also written in Japanese, and scattered notes; a few personal business records; printed materials; one scrapbook; sketches; and one family photograph album.
Scope and Contents:
The scattered personal papers of Seattle area painter Kamekichi Tokita (1897-1948) measure 1.5 linear feet and date from circa 1900 to circa 2010 with the bulk of the material dating from circa 1910 to 1948. The papers include biographical materials, including documents about the closing of the War Relocation Authority's Minidoka Camp in Idaho; correspondence; three diaries written in Japanese documenting Tokita's war time experiences and relocation to Minidoka, two earlier notebooks, also written in Japanese, and scattered notes; a few personal business records; printed materials; one scrapbook; sketches; and one family photograph album.

Biographical materials include a file on the Public Works of Art Project, a file on the War Relocation Authority and the closing of the Minidoka internment camp, an immigration document, and an essay on Tokita written by Shokichi and Elsie Tokita.

Correspondence is primarily professional in nature and concerns exhibitions at the Seattle Museum of Art (previously the Art Institute of Seattle) and other topics. Correspondents include Burt Brown Baker, Roy Boynton, Kenneth Callahan, Henry Gallery, the Seattle Art Museum, and others.

Tokita's writings consist of three diaries, two notebooks, and scattered general writings, most of which are in Japanese. The diaries were kept during World War II and document the family's confinement at the Minidoka Relocation Camp in Idaho. Included is a transcript of the diaries which were translated from prewar to modern Japanese by Haruo Takasugi and from modern Japanese to English by Naomi Kusunoki-Martin.

Scattered business records include a patent application, records from the Cadillac Hotel, and a claim filed through the Department of Justice. A few published books in English and Japanese are about art and religion. Also found are exhibition catalogs for shows in which Tokita participated and clippings. There is one mixed media scrapbook about Tokita's exhibitions.

Artwork consists of unsigned pencil and watercolor sketches by Tokita. There is also a family photo album containing snapshots and portraits of the Tokita family and friends.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1934-1985 (Box 1; 4 folders)

Series 2: Correspondence, circa 1920-1944 (Box 1; 6 folders)

Series 3: Writings and Notes, 1923-circa 1950 (Box 1; 0.2 linear feet)

Series 4: Personal Business Records, 1928-1950 (Box 1; 3 folders)

Series 5: Printed Material, circa 1910-1940 (Box 1-3; 0.5 linear feet)

Series 6: Scrapbook, 1929-1933 (Box 2-3; 0.1 linear feet)

Series 7: Artwork, circa 1910-1940s (Box 2-3; 0.1 linear feet)

Series 8: Photograph Album, circa 1900-1930 (Box 2; 0.2 linear feet)
Biographical / Historical:
Kamekichi Tokita (1897-1948) was a painter and businessman who emigrated from Japan in 1919 and settled in Seattle, Washington. Tokita was a member of the Seattle area progressive artists' collective known as the "Group of Twelve" and widely exhibited his artwork throughout the Pacific Northwest.

Kamekichi Tokita was born in Shizouka City, Japan and immigrated to the United States at the age of twenty-two. He settled in the Japantown neighborhood of Seattle, Washington where he opened the Noto Sign Company with business partner Kenjiro Nomura. Nomura was also an artist and encouraged Tokita's interest in oil painting. They both used the sign shop as their studio after-hours. In 1936, the Noto Sign Company closed and Tokita took over management of the Cadillac Hotel, although he continued to paint commercial signs. Tokita married Haruko Suzuki in 1932 and together they had eight children.

As a child in Japan, Tokita studied calligraphy in China. Although he attended a few art school classes in in the U.S. and went on weekend painting trips with Nomura and other Seattle artists, Tokita is considered to be a largely self-trained artist. Support and recognition came from Dorothy V. Morrison of the Henry Gallery at the University of Washington who wrote to Tokita to inquire whether a "group of Japanese artists in the city" would be interested in exhibiting their work. Although the exhibition of Japanese artists did not happen, Tokita later loaned paintings to the gallery for inclusion in an exhibition sponsored by the American Federation of Arts. Throughout the late 1920s and 1930s Tokita exhibited widely in the Seattle area. In 1935, the Seattle Daily Times touted the work of Tokita and other painters in the "Group of Twelve" that also included Morris Graves, Kenneth Callahan, Walter F. Isaacs, and Ambrose and Viola Patterson, among others. In 1942, after the bombing of Pearl Harbor, Kamekichi Tokita and his family (five children at the time), along with the 110,000 – 120,000 Japanese and Japanese-American citizens living on the West Coast, were ordered under President Franklin Roosevelt's Executive Order 9066 to relocate to one of several confinement camps. For the first six months of their confinement, the family lived at a temporary Civilian Assembly Center in Puyallup, Washington. They were transferred to the Minidoka Relocation Camp in Hunt, Idaho where they remained until their release in 1945. The confinement camps were organized much like communes and independent cities (fenced and guarded) where the residents were self-reliant for most of their basic necessities, including schooling. While interned in Minidoka, Tokita worked as a sign painter and continued to privately paint, using whatever materials he could find, including beaver board. His work was featured in art shows at the camp. Many of his camp scenes are now lost or were given away.

At the end of World War II, Tokita and his family (now seven children) moved back to the Seattle-area. Unable to find housing, the Tokitas lived at a Japanese language school until Tokita was able to re-establish his business. During this period he painted very little. In 1946 Tokita and his wife purchased the New Lucky Hotel in the Chinatown area of Seattle. Shortly thereafter, Tokita fell ill and died in 1948. Many of his works are believed to have been destroyed or lost. Some of his work remains, however, and is among the permanent collections of the Seattle Art Museum, the Tacoma Art Museum, the Portland Art Museum.

Note: Much of this biographical note was taken from "A Biographical Resume" written by Shokichi and Elsie Y. Tokita.
Separated Materials:
A watercolor painting on paper by Kamekichi Tokita, Untitled (Still Life), 9 x 12 in. was transferred to the Smithsonian American Art Museum in 2012.
Provenance:
The Kamekichi Tokita papers were donated by his son, Shokichi Tokita in 1990. He donated a third and final diary in 2017. They were collected as part of the Archives of American Art Northwest Asian American project in Seattle, Washington.
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. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Kamekichi Tokita papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- Washington (State) -- Seattle  Search this
Topic:
Art, American -- Northwestern States  Search this
World War, 1939-1945 -- Japanese Americans  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945 -- Diaries  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Art, Modern -- 20th century -- Northwestern States  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese Americans  Search this
Genre/Form:
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Citation:
Kamekichi Tokita papers, circa 1900-circa 2010, bulk circa 1910-1948. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tokikame
See more items in:
Kamekichi Tokita Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tokikame

Seattle, Washington, Seattle Art Museum

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 226, Folder 6
Type:
Archival materials
Date:
1948-1973
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The records of Jacques Seligmann & Co. are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref14339

Lucy R. Lippard papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, and 2006.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Lucy R. Lippard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Artists -- Political activity  Search this
Authors -- New York (State) -- New York  Search this
Conceptual art  Search this
Art criticism -- New York (State) -- New York  Search this
Feminism  Search this
Art critics  Search this
Minimal art  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Seattle Art Museum

Collection Creator::
Smithsonian Institution. Office of the Secretary. Special Assistant to the Secretary for Fine Arts  Search this
Container:
Box 1 of 1
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 441, Smithsonian Institution, Office of the Secretary, Special Assistant to the Secretary for Fine Arts, Survey Records
See more items in:
Survey Records
Survey Records / Box 1
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0441-refidd1e867

Indigenous beauty : masterworks of American Indian art from the Diker Collection / David W. Penney ; with contributions by Janet Catherine Berlo, Bruce Bernstein, Barbara Brotherton, Joe D. Horse Capture, and Susan Secakuku

Title:
Masterworks of American Indian art from the Diker collection
Diker collection
Author:
Penney, David W.  Search this
Berlo, Janet Catherine  Search this
Bernstein, Bruce  Search this
Brotherton, Barbara  Search this
Horse Capture, Joseph D.  Search this
Secakuku, Susan  Search this
Host institution:
Seattle Art Museum  Search this
Amon Carter Museum of American Art  Search this
Michael C. Carlos Museum  Search this
Toledo Museum of Art  Search this
Physical description:
191 pages : illustrations (chiefly color) ; 26 cm
Type:
Exhibitions
Exhibition catalogs
Place:
North America
Date:
2015
Topic:
Indian art  Search this
Material culture  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1111744

States of war new European and American paintings Bruce Guenther

Author:
Guenther, Bruce  Search this
Seattle Art Museum  Search this
Physical description:
63 pages illustrations (some color) 28 cm
Type:
Exhibitions
Exhibition catalogs
Date:
1985
20th century
Topic:
Genre painting--Themes, motives  Search this
Narrative painting  Search this
Figurative painting  Search this
Peace in art  Search this
Violence in art  Search this
Social problems in art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_653012

Oral history interview with Ramona Solberg, 2001 March 23

Interviewee:
Solberg, Ramona L., 1921-2005  Search this
Interviewer:
Halper, Vicki  Search this
Subject:
Day, Russell  Search this
Hall, Laurie  Search this
Harrington, LaMar  Search this
Ho, Ron  Search this
Hu, Mary Lee  Search this
Larsen, Jack Lenor  Search this
Lipofsky, Marvin  Search this
Maloof, Frieda  Search this
Maloof, Sam  Search this
Marshall, John  Search this
Pence, Coralyn  Search this
Penington, Ruth  Search this
Slemmons, Kiff  Search this
Tompkins, Don  Search this
Woell, J. Fred  Search this
Worden, Nancy  Search this
Central Washington State College  Search this
Edison Vocational School  Search this
Bellevue Art Museum (Wash.)  Search this
American Craft Council  Search this
University of Washington  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Technique  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Record number:
(DSI-AAA_CollID)12835
(DSI-AAA_SIRISBib)226997
AAA_collcode_solber01
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_226997
Online Media:

Study for Portrait V

Artist:
Francis Bacon, British, b. Dublin, Ireland, 1909–1992  Search this
Medium:
Oil on canvas
Dimensions:
60 1/8 × 46 1/8 in. (152.7 × 117.1 cm)
Type:
Painting
Date:
(1953)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966
Accession Number:
66.183
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
School of London
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2d11141bb-0379-42d9-95ff-02e8bc80289b
EDAN-URL:
edanmdm:hmsg_66.183

Oral history interview with Ramona Solberg

Interviewee:
Solberg, Ramona  Search this
Interviewer:
Halper, Vicki  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Bellevue Art Museum (Wash.)  Search this
Central Washington State College -- Faculty  Search this
Edison Vocational School -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Students  Search this
Day, Russell  Search this
Hall, Laurie  Search this
Harrington, LaMar, 1917-2005  Search this
Ho, Ron  Search this
Hu, Mary Lee, 1943-  Search this
Larsen, Jack Lenor  Search this
Lipofsky, Marvin, 1938-2016  Search this
Maloof, Frieda  Search this
Maloof, Sam  Search this
Marshall, John, 1936-  Search this
Pence, Coralyn  Search this
Penington, Ruth, b. 1905  Search this
Slemmons, Kiff  Search this
Tompkins, Don  Search this
Woell, J. Fred, 1934-  Search this
Worden, Nancy  Search this
Extent:
35 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 23
Scope and Contents:
An interview of Ramona Solberg conducted 2001 March 23, by Vicki Halper, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Solberg's apartment, Seattle, Washington.
Solberg speaks of her family background and childhood in Seattle; her jewelry studies with Ruth Pennington at the University of Washington in Seattle and her use of found objects; her service in the Unites States Army; attending the Edison Vocational School on the GI Bill and pursuing a masters degree in jewelry at the University of Washington; studies with Coralyn Pence; her travels to Mexico and her fascination with pre-Columbian objects; enameling in Norway; collecting beads from around the world; her book, "Inventive Jewelry-Making" (New York: Van Nostrand Reinhold, 1972); leading tours for a Seattle-based group, "Friends of the Crafts," to the Middle East, Asia, Antarctica, and elsewhere for 16 or 17 years; teaching at Central Washington State College and creating her first bead and found object pieces there in 1956; her fondness for turquoise, lapis, and coral; inviting Don Tompkins to teach at Central Washington State College; Tompkins's "tongue-in-cheek" use of metals; her desire to make jewelry that can "shake, rattle, and roll"; teaching and workshops; her use of preliminary sketches; her soldering technique; fasteners; the weight of her jewelry; the "restraints of jewelry"; her lack of interest in making matched sets and bracelets and rings; the lack of social commentary in her work; her series of pieces inspired by the book, "Watership Down;" the influence of Fred Woell and his use of "American throw-aways"; her involvement with the Northwest region of the American Craft Council; her association with a group of jewelers in the Northwest including Ron Ho, Laurie Hall, Nancy Worden, and Kiff Slemmons; making beaded fibulas; curating exhibitions such as Ubiquitous Bead (1987) and Ubiquitous Bead II (1998) at the Bellevue Art Museum in Seattle; exhibitions at Facèré Jewelry Art Gallery in Seattle and the Henry Art Gallery at the University of Washington in Seattle; working in small spaces; getting into the exhibition Objects: USA "through the back door"; her status as an international artist; pricing her work; her pieces in museum collections; and her health. She recalls Russell Day, Jack Lenor Larsen, Sam and Frieda Maloof, John Marshall, Marvin Lipofsky, LaMar Harrington, Mary Lee Hu, and others.
Biographical / Historical:
Ramona Solberg (1921-2005) was a jeweler from Seattle, Washington. Vicki Halper is a curator at the Seattle Art Museum.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 13 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.
Topic:
Art -- Technique  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.solber01
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-solber01

Patti Warashina papers

Creator:
Warashina, Patti, 1940-  Search this
Names:
Lee Nordness Galleries  Search this
Currier, Anne, 1950-  Search this
Kottler, Howard, 1930-1989  Search this
Lipofsky, Marvin, 1938-2016  Search this
Lucero, Michael, 1953-  Search this
Sperry, Robert, 1927-1998  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Date:
circa 1900-1991
bulk 1970-1989
Summary:
The papers of ceramicist and sculptor Patti Warashina (b. 1940) date from circa 1900 and 1957 through 1991, bulk 1970-1989. The collection consists of 4.8 linear feet of correspondence and printed material reflecting the many ceramic and craft exhibitions and other projects Warashina participated in throughout the United States, and her associations with other ceramicists. Also included are biographical documents, writings, art works, several photographs, and a video.
Scope and Content Note:
The Patti Warashina papers measure 4.8 linear feet and date from circa 1900 and 1957 through 1991 (bulk 1970-1989). The collection documents the artistic and teaching career of Seattle-based sculptor and ceramicist Patti Warashina predominantly through correspondence and printed material reflecting the many ceramic and craft exhibitions and other projects Warashina participated in throughout the United States, and her associations with other ceramicists. Also included are biographical documents, writings, art works, several photographs, and a video.

Biographical material includes family trees, diplomas, awards, and documents relating to Warashina's family Japanese internment during WWII. Correspondence, 1968-1991, relating to exhibitions and other projects, is with galleries, museums, purchasers, publishers, and others, among them the Lee Nordness Gallery (N.Y.), Morgan Gallery (Kansas City), and Theo Portney Gallery (Seattle). Additional correspondence files contain letters received, 1977-1990, many addressed to Warashina and her husband Bob (Robert Sperry), from friends, colleagues, former students and family members, including Nancy Carmen, Anne Currier, Deborah Horrell, Matthew Kangas, Howard Kottler, Marvin Lipofsky, Michael Lucero, and others.

Ten photographs, circa 1900-1944, are portraits of Warashina's relatives and family, and several snapshots, circa 1970s, are of former students and works of art. Printed material, 1961-1990, includes newspaper and magazine clippings, programs, journals, newsletters, exhibition announcements, exhibition catalogs, and workshop announcements for Warashina's various sculpture and ceramic lectures. Writings include both published and unpublished works by Warashina, including an artist's statement for a possible lecture at the 1986 conference of the National Council on Education for the Ceramic Arts (NCECA). Also found here are handwritten notes on a panel discussion titled Cultural and Racial Heritage: Sources and Imagery in which Warashina was a participant along with artists Aminah Brenda Lynn Robinson, María Brito Avellana, and Indira Johnson. Art work consists of blue line drawings for her sculpture "Red Earth," 1986 as well as a pen and ink sketch of Warashina by an unidentified artist. A videocassette, 1987, is of the television program "The Big A: Different Ways of Seeing", in which Warashina appears briefly.
Arrangement:
The Patti Warashina papers are arranged as seven series based primarily on type of material. The correspondence in Series 2 is arranged chronologically for exhibitions and projects and general letters received. Additional letters received are arranged by name of author.

Series 1: Biographical Material, 1974-1991, undated (Box 1; 3 folders)

Series 2: Correspondence, 1957, 1967-1991, undated (Boxes 1-3; 2.0 linear feet)

Series 3: Photographs, circa 1900- circa 1959, 1971, undated (Box 3; 3 folders)

Series 4: Printed Material, 1961-1990, undated (Boxes 3-6, OV 7; 2.0 linear feet)

Series 5: Writings and Notes, 1984, 1986, 1989, undated (Box 6; 4 folders)

Series 6: Artwork, 1986, undated (Box 6; 2 folders)

Series 7: Miscellany, 1987, undated (Box 6; 2 folders)
Biographical Note:
Ceramicist and sculptor Patti Warashina was born in 1940 as Masae Patricia Warashina in Spokane, Washington to third generation Japanese emigrants. She received her undergraduate degree from the University of Washington, Seattle, where she studied with sculptors Robert Sperry, Harold Myers, Rudy Autio, Shoji Hamada, Shinsaku Hamada, and Ruth Penington. She received her first solo exhibition in 1962 at the Phoenix Art Gallery in Seattle the same year she graduated with an M.F.A. from the University of Washington. Warashina later married fellow student Fred Bauer and from 1964 to 1970 exhibited as Patti Bauer.

Influences in Warashina's art include California funk and sculptural ceramics. Her work is best known for its whimsical themes expressed through low-fire highly colored figurative images. Together with fellow artists Robert Sperry, Howard Kottler and Fred Bauer, she brought national recognition to the department of ceramics at the University of Washington's School of Art beginning in the 1980s.

Patti Warashina is a recipient of several awards for achievements in the field of crafts, most recently the Twining Humber Award granted by Seattle's Artists Trust in 2002. She received the Governor's Award of Special Commendation for the Arts in 1980 in addition to grants from the National Endowment for the Arts in both 1975 and 1986. In 1978, Warashina was awarded a World Craft Council Travel Grant which allowed her to conduct research on the ceramic arts process in Japan, Hong Kong, Singapore, Thailand, Bali and the Philippines. Warashina's teaching career spans over 30 years and includes positions at the University of Wisconsin, Eastern Michigan University, and at her alma mater where she has taught for over 25 years. Her work is featured in several museum collections in both the U.S. and abroad including the American Craft Museum in New York, the Seattle Art Museum and Henry Art Gallery, the Smithsonian American Art Museum's Renwick Gallery (Washington, DC), the Art Gallery of Western Australia, and the Ichon World Ceramic Center in Korea. Since her marriage to ceramicist Robert Sperry in 1976, she has used Patti Warashina as her professional name. Patti Warashina is a resident of Seattle, Washington.
Provenance:
The Patti Warashina papers were donated by the artist to the Archives of American Art in 1991.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Patti Warashina papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Women sculptors -- Washington (State) -- Seattle  Search this
Women artists -- Washington (State) -- Seattle  Search this
Asian American women artists  Search this
Ceramicists -- Washington (State) -- Seattle  Search this
Sculptors -- Washington (State) -- Seattle  Search this
Japanese American families -- Photographs  Search this
Japanese American sculptors  Search this
Genre/Form:
Video recordings
Photographs
Citation:
Patti Warashina papers, circa 1990-1991, bulk 1970-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warapatt
See more items in:
Patti Warashina papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warapatt
Online Media:

Seattle, Washington, Seattle Art Museum

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 128, Folder 1
Type:
Archival materials
Date:
1931-1955
undated
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The records of Jacques Seligmann & Co. are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-jacqself-ref12056

Cabinet Makers

Artist:
Jacob Lawrence, American, b. Atlantic City, New Jersey, 1917–2000  Search this
Medium:
Opaque watercolor and graphite pencil on paper
Dimensions:
framed: 30 7/8 × 36 15/16 in. (78.4 × 93.8 cm)
Type:
Painting
Date:
1946
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.2915
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
African-American Figuration
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2e90ba63a-a427-4778-8921-e7128989853b
EDAN-URL:
edanmdm:hmsg_66.2915

A Day Without Art

Type:
Printed Materials
Date:
1989
Record number:
(DSI-AAA)12145
See more items in:
Lucy R. Lippard papers, 1930s-2007, bulk 1960-1990
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12145
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Seattle Art Museum

Collection Creator:
Catherine Viviano Gallery  Search this
Container:
Box 8, Folder 121
Type:
Archival materials
Date:
1965-1969
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Catherine Viviano Gallery records records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
See more items in:
Catherine Viviano Gallery records
Catherine Viviano Gallery records / Series 2: Correspondence / 2.2: Correspondence with Museums, Galleries, and Art-Related Institutions, United States
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cathvivi-ref852

Miguk sojang. 2, Honollulu Misulgwan, Kʻŭllibŭllaendŭ Pangmulgwan, Sikʻago Misulgwan, Siaetʻŭl Pangmulgwan = The Korean relics in the United States. 2, The Honolulu Academy of Arts, The Cleveland Museum of ARt, The Art Institute of Chicago, The Seattle Art Museum

Title:
Miguk sojang Hanʼguk munhwajae. 2, Honollulu Misulgwan, Kʻŭllibŭllaendŭ Pangmulgwan, Sikʻago Misulgwan, Siaetʻŭl Pangmulgwan
Korean relics in the United States. 2, Honolulu Academy of Arts, Cleveland Museum of Art, Art Institute of Chicago, Seattle Art Museum
Author:
Han'guk Kukche Kyoryu Chaedan  Search this
Physical description:
403 p. : ill. (some col.) ; 31 cm
Type:
Catalogs
Place:
United States
Date:
1996
Topic:
Art, Korean  Search this
Art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_509780

African masks and muses : selections of African art in the Seattle Art Museum / text by Pamela McClusky ; introd. by Willis F. Woods

Author:
Seattle Art Museum  Search this
McClusky, Pamela  Search this
Subject:
Seattle Art Museum Catalogs  Search this
Physical description:
[50] p. : ill. ; 23 cm
Type:
Catalogs
Place:
Africa, West
Washington (State)
Seattle
Date:
1977
C1977
Topic:
Art, African  Search this
Art, Black  Search this
Art, Primitive  Search this
Art  Search this
Call number:
N7398.S42 1977X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_108535

Virginia Barnett papers relating to Mark Tobey, ca. 1950-1979

Creator:
Barnett, Virginia  Search this
Subject:
Tobey, Mark  Search this
Type:
Video recordings
Interviews
Record number:
(DSI-AAA_CollID)6718
(DSI-AAA_SIRISBib)208843
AAA_collcode_barnvirg
Theme:
Diaries
Lives of American Artists
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208843

Linda Farris Gallery records

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Names:
Barry, Lynda, 1956-  Search this
Bruskin, Grisha, 1945-  Search this
Clough, Charles, 1951-  Search this
Landfield, Ronnie, 1947-  Search this
Luce, Charles, 1947-  Search this
Lucero, Michael, 1953-  Search this
Markovitz, Sherry  Search this
Nevelson, Louise, 1899-1988  Search this
Noah, Barbara  Search this
Pepper, Beverly  Search this
Extent:
13.4 Linear feet (13 Boxes, 1 sol, 1 ov folder)
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Date:
1969-1995
Summary:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials.
Scope and Contents:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials. Business correspondence is with galleries, dealers, publishers, museums, and other businesses. Administrative files are varied and include advertising and promotion materials, exhibition schedules, mailing lists, guest books, a scrapbook, and gallery history.

Artists' files are found for many contemporary American artists that interested Linda Farris or were represented by the gallery. The contents of each file vary but many include photographs and slides, writings, correspondence, and printed materials. Files for Lynda Barry, Grisha Brusking, Charles Clough, Ronnie Landfield, Charles Luce, Michael Lucerno, Sherry Markovitz, Louise Nevelson, Barbara Noah, and Beverly Pepper are particularly rich. Exhibition files are for Linda Farris Gallery exhibitions and include printed materials, correspondence, loan and consignment agreements, and photographs.

Event files cover anniversary celebrations, lectures, panel discussions, and receptions. There are 17 sound cassette recordings of "Art Now" lectures and "Focus" panel discussions. Scattered reference files contain collected materials on subjects of interest to the gallery. There are scattered financial, sales, and legal files. Sales records cover 1970-1979.

Linda Farris' personal papers contain printed materials about her and the gallery and other materials concerning her professional and curatorial work outside of the gallery. There is also a transcript of an oral history with Farris and a news interview.

Printed materials include published books and magazines, clippings and exhibition catalogs and announcements.

Photographs are scattered throughout adminstrative files, exhibition files, event files, and Linda Farris' personal papers.
Arrangement:
The collection is arranged as 8 series.

Series 1: Correspondence, 1975-1991, undated (Box 1; .7 linear feet)

Series 2: Administrative files, 1970-1995, undated (Box 1-2; 1 linear feet)

Series 3: Artists and Exhibition files, 1969-1995, undated (Box 2-9; 6.6 linear feet)

Series 4: Events files, 1971-1990, undated (Box 9; 0.6 linear feet)

Series 5: Reference files, 1969-1994, undated (Box 9-10; 0.6 linear feet)

Series 6: Financial, Sales and Legal files, 1970-1995 (Box 10; 0.4 linear feet)

Series 7: Linda Farris Papers, 1972-1995 (Box 10-11; .9 linear feet)

Series 8: Printed Materials, 1970-1995 (Box 11-13; 2 linear feet)
Biographical / Historical:
The Linda Farris Gallery was Seattle's leading venue for contemporary art during its twenty-five years of operation.

Linda Farris opened Gallery East in Bellevue in 1970, and a year later moved to Pioneer Square in Seattle, changing the name to Linda Farris Gallery in 1973. The gallery continued to present contemporary art there until closing in December 1995. Art dealer Linda Farris began representing a group of promising artists, all graduates of the University of Washington. Greg Kucera of the Greg Kucera Gallery noted in an article for the Seattle Weekly, "Their work could be loosely seen as a movement, complete with aesthetic interrelationships, convenient marriages, an unintelligible manifesto in the form of Dennis Evans' quirky pronouncements…" From the same article he states, "Her avant-garde gallery changed forever the nature of being an art dealer in Seattle." It was among the three or four most influential galleries in the Pacific Northwest.

The gallery held exhibitions of many nationally known contemporary artists, including Sam Francis, Louise Nevelson, and Robert Rauschenberg, as well as Northwest artists Jeffrey Bishop, Dennis Evans, Sherry Markovitz, Nancy Mee, Norie Sato, and Patti Warashina. The latter group started with the gallery and remained loyal at the time of its closing in 1995.

Art dealer, collector and free-lance curator Linda B. Farris (1944-2005), a native of San Francisco and a graduate of the University of California, Berkeley (1966), was an active participant in and style setter for the Seattle art world for the twenty-five years she was in business. As a member of the art community she actively supported the Henry Art Gallery at the University of Washington, Pilchuck Glass School, and Seattle Art Museum's Contemporary Art Council, and served on the boards of directors of Henry Art Gallery and Factory Visual Arts. Farris curated "Eight Seattle Artists" in 1981 for the Los Angeles Institute of Contemporary Art and "Self Portraits" in 1983 for the Los Angeles Municipal Art Gallery. She also led the movement to keep Henry Moore's "Vertebrae" from leaving Seattle, and instituted a series of talks, panel discussions, performances, and tours in her gallery, and in and around Seattle.

This note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
An oral history interview with Linda Farris conducted in 1975 by Sally Swenson, is located in the University of Washington University Libraries Digital Collections.
Provenance:
The Linda Farris Gallery records were donated to the Archives of American Art by owner Linda Farris in 1995 at the time she closed the gallery.
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.
Rights:
The Linda Farris Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Avant-garde (Aesthetics)  Search this
Art galleries, Commercial -- Washington (State) -- Seattle  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Genre/Form:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Citation:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lindfarr

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