An interview of Bruce Metcalf conducted 2009 June 10, by Edward S. Cooke, Jr., for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Metcalf's home, in Bala Cynwyd, Pennsylvania. Mr. Metcalf discusses his early years in Amherst, Massachusetts; beginnings as a maker with modeling clay and plastic airplane models; undergraduate years at Syracuse University, Syracuse, New York in the late 1960s; early interest in architecture; early disenchantment with modernist discourse and theory; introduction to Marxist theory and idealism of the 1960s; summer trip to California in 1970; return to the East Coast upon the death of his father; return to college, transferring into jewelry in his senior year; influence of his teacher Michael Jerry; seeing the work in "Objects: USA" exhibition (1969) and influence of the work of J. Fred Woell, Richard Mawdsley, L. Brent Kington; rejection of current trends in art, including conceptual art and formalism; his affinity for the medium of metal, and hammersmithing; influence of funk ceramics, including work by Fred Bauer and Richard Shaw; brief stint at Montana State University, Bozeman; working in cardboard and wood; graduate school at the State University of New York, New Paltz; working with Robert Ebendorf and Kurt Matzdorf at New Paltz; work as a production artist/craftsperson; attending Rhinebeck, New York, craft fair in the mid-1970s; the influence of writings by William Morris and John Ruskin and the notion of "dignified labor"; graduate school at Tyler School of Art, Philadelphia, Pennsylvania; formulating his aesthetic of narrative symbolism; publication of his first article in 1977 as a response to review of the exhibition "Forms in Metal: 275 Years of Metalsmithing in America" (1975); yearlong teaching position at Colorado State University, Fort Collins, Colorado; taking a teaching position at Kent State University, Kent, Ohio (1986-1991); publication of his article "Crafts: Second-Class Citizens?" in the first issue of Metalsmith, 1980; growing involvement with the Society of North American Goldsmiths; development of his notion of "social utility" and the role and function of crafts and making; expansion of his writing on craft; rejection of the deconstructivist school of thought in the 1980s; abandonment of sculptural objects for jewelry in the early 1990s; return to Philadelphia in 1991; early teaching of history of craft, first at Kent, then on a Fulbright scholarship in Seoul, South Korea (1990), later at the University of the Arts, Philadelphia, in the early 1990s; influence of Martin Eidelberg; development of his vision for a history of craft course; collaboration with Janet Koplos on "Makers: A History of American Studio Craft"; use of his medium and craft to explore issues of nurturing and anxiety; the psychological/social effect and aesthetic importance of wearing jewelry (for the wearer and the artist); the pros and cons of craft collectors; the problematics of installation work by craft artists; recent trends in craft, including Anne Wilson's notion of "sloppy craft" and an "anti-craft" attitude; recent artists, including Arthur Hash and Gabriel Craig; lack of exhibition opportunities for younger/emerging artists; influential recent texts, including "Shards," by Garth Clark. He also recalls Robert Arneson, Randy Long, Carol Kumata, Jamie Bennett, Steve and Harriet Rogers, Wayne Hammer, Stanley Lechtzin, Gene Koss, Henry Halem, Mark Burns, Rose Slivka, Nilda Getty, Jill Slosberg, Sharon Church, John Gill, David La Plantz, Lois Moran; Gary Griffin; William Daley, Marian Pritchard, Glenn Adamson, Pat Flynn, Susan Cummins, and Judith Schaechter.
The following oral history transcript is the result of a recorded interview with Bruce Metcalf on June 10, 2009. The interview took place in Bala Cynwyd, Penn., and was conducted by Edward S. Cooke, Jr. for the Archives of American Art, Smithsonian Institution. This interview is part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. Bruce Metcalf has reviewed the transcript. His corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose.
Biographical / Historical:
Bruce Metcalf (1949- ) is a jeweler and writer in Bala Cynwyd, Pennsylvania.
General:
Originally recorded as 5 sound files. Duration is 4 hr., 10 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1930-1997
Scope and Contents:
Biographical material, correspondence, notes, writings, photographs, business and financial records, works of art, and printed material document the career of painter and educator Michael Loew.
REEL N68-94: Biographical material, 1957-1967, includes 5 biographical sketches, a bibliography of Loew's publications, and an artist's statement. Correspondence, 1935-1968, is with colleagues, galleries, and educational institutions. There are one or two letters each from colleagues Josef Albers, Willem de Kooning, Adolph Gottlieb, Philip Johnson, Richard Lahey, George L.K. Morris, and Clifford Odets. Nine letters relate to Loew's work for the U.S. Works Progress Administration and the New York World's Fair. Writings, 1966, consist of several drafts for essay "Is It the Function of the Artist to Communicate with his Audience." A contract, 1938, is between Loew and Willem de Kooning and the New York World's Fair 1939 Inc. Printed material, 1944-1968, consists of exhibition announcements and catalogs. Photographs, 1960-1964, are of Loew and his art works. Notes consist of 2 undated notebooks and a typescript concerning Josef Albers. A scrapbook, 1938-1965, contains 4 photographs of art works, clippings, and exhibition announcements and catalogs.
REEL 5053: Correspondence, 1944-1990, is with galleries, including the Holland-Goldowsky Gallery, educational institutions, including the University of California at Berkeley, and colleagues including Dorothy Dehner, Burt Hasen, and Aaron Siskind. Correspondence, 1956-1957, with Rockwell Kent concerns the rental of Kent's Monhegan Island cabin. One letter, 1959, includes 3 photographs of Loew, Louis Kahn, Allan Kaprow, and George McNeil. Lecture notes are for an Artists Equity symposium, 1956, and a panel discussion on painting, 1968. Writings, 1968-1979, consist of 3 essays by Loew and tributes written to Sarah Freedman McPherson by Loew and others. Printed material, 1932-1992, consists of clippings, exhibition announcements and catalogs, and a book "The Artist's World" by Fred W. McDarrah. Photographs, 1930-1979, are of Loew, his friends, and his art works. One photograph is of Alfred Jensen, Theodore Schempp, Max Schnitzler, and Loew in Tunis, 1930.
UNMICROFILMED Biographical material incudes curriculum vita, obituaries, and birth announcements of Jonathan Loew, Michael Loew's son. Correspondence is with Willem and Elaine de Kooning. Writings include notes and a transcription of Loew's 1966 MoMA talk Must the Artist Communicate with his Audience, drafts of an article by Loew regarding Joseph Albers NEA and Guggenheim grant applications. Photographs are of Loew, his artwork, and his travels in Mexico as well as a color photograph of Loew and Willem de Kooning in de Kooning's studio taken by Rose Slivka. Artwork includes original off-prints for book covers. Business files relate to the 1939 World's Fair mural commission and include information about gifts of artwork to museums. Financial material includes a sales record book and records of sales with the Marilyn Pearl and Landmark galleries. Also included are literature and directories from the Federation of Modern Painters & Sculptors, exhibition announcements,and newspaper clippings.
Biographical / Historical:
Born in New York City, Michael Loew (1907-1985) studied at the Art Students League from 1926-1929, Academie Scandinave in Paris from 1929-1930, the Hans Hofmann School of Fine Art from 1947-1949, and at the Atelier Fernand Leger from 1949-1950. Loew worked as a stained glass artist from 1926 to 1929, and painted murals with Willem de Kooning for the New York World's Fair of 1939. Between 1956 and 1966, he taught painting at the Portland (Oregon) Art Museum, University of California at Berkeley, and at the School of Visual Arts in New York.
Provenance:
Material on reel N68-94 lent for microfilming 1968 by Michael Loew; approximately 50 letters and an artists' statement were later received in subsequent donations. Additional papers were donated in 1981-1982 by Loew, and in 1994 and 2008 by his widow, Mildred C. Loew, a portion of which was microfilmed on reel 5053. The photograph of Loew and de Kooning taken by Rose Slivka was donated by Loew's niece, Jackie Cohen, in 2007.
Restrictions:
Microfilmed portion must be accessed on film. Use of original papers requires an appointment.
An interview of Paula Colton Winokur conducted 2011 July 21-22, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Winokur's home and studio, in Horsham, Pennsylvania.
Paula speaks of taking drawing and painting classes at the Graphic Sketch Club (now the Fleischer Art Memorial) in Philadelphia at age 11; her first experience handling clay at 13 or 14 when taking a class at the Philadelphia Museum of Art; when her family agreed to send her to college, providing she became a teacher, and she attended the Tyler School of Art at Temple University as a painting major; the influence of her teacher Rudolf Staffel in her sophomore year when she took a ceramics class and fell in love with working in clay; meeting her husband Robert Winokur when they were students at Tyler, getting married in 1958, eventually having two sons; glaze testing to find a palette of glazes to use; moving to Massachusetts and starting Cape Street Pottery for their production pottery; her involvement with NCECA [National Council on Education for the Ceramic Arts] and other professional organizations; when she began a 30-year teaching career at Beaver College in 1973 (more recently known as Arcadia University), building their ceramics department; changing from using stoneware to porcelain in 1970; making boxes and architectural forms; how she stopped making functional items when her first child was born and began creating the things she wanted to; the decision in 1982 to make landscapes and how geology, the Artic, and threats to the environment influence her work; the process she uses when creating texture; selling exclusively through the Helen Drutt Gallery beginning in 1973 until the gallery closed in 2011; the important influences in her work of artists such as Michael Heizer, Carl Andre, Richard Long, Richard Serra, Olafur Eliasson, and Steven De Staebler and others; the immense the geologic formations of Mesa Verde, the Rocky Mountains, Stonehenge, Alaska and Iceland are inspiring; various lecturing opportunities and exhibits through the years, as well as a working residency she took advantage of in Hungary in 1994; slowly moving away from glazes and instead using metallic sulfates for color; that her intention is to express the relationship between the internal part of herself and the external world for other people to experience and find something in common; the importance of a liberal arts education for art students; her gelatin and clay prints; the concern over collectors of clay art dying off and no new ones taking their places; that galleries are closing and Internet galleries are the norm; meeting photographer, Imogen Cunningham, and seeing her as a wonderful role model; and the feeling that the high cost of fuel and the invention of newer materials may end ceramic classes. Paula also recalls Lowell Nesbitt, Myrna Minter, Arlene Love, Dennis Leon, Boris Blai, Ted Randall, Val Cushing, Norm Schulman, Jim McKinnel, Gertrud Natzler, Otto Natzler, Ken Ferguson, Rose Slivka, Enrique Mestre, Sandy Simon, Wayne Higby, Richard Notkin, Graham Marks, Toshika Takaezu, Yvonne Bobrowicz, Ken Vavrek, Carol Sedestrom, Lois Moran, and Ken Shores and others.
Biographical / Historical:
Paula Colton Winokur (1935- ) is a ceramist in Horsham, Pennsylvania. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded as 9 sound files. Duration is 6 hr., 24 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.
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.
Scope and Contents:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include artwork, views of Slivka, and craftspeople she observed when traveling abroad.
Interviews with craftsmen and other artists were conducted by Rose Slivka and others. Peter Voulkos is espcially well-documented. Among the artists interviewed are: Elaine de Kooning, Philip Guston, Jack Lenor Larsen, Louise Nevelson, and David Slivka. Also found are intereviews with John Cage, Stanley Kunitz, and Rose Slivka.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, circa 1947-2005 ( Box 1; 0.6 linear feet)
Series 2: Correspondence, 1950-2004 (Boxes 1-4: 3.6 linear feet)
Series 3: Interviews, 1974-2001 (Boxes 5-6; 1.6 linear feet)
Series 4: Writings, Notes, and Related Research, 1954-2001 (Boxes 6-11, OV 23; 4.8 linear feet)
Series 5: Subject Files, 1958-2004 (Boxes 11-18, 22, OV 23; 7.4 linear feet)
Series 6: Printed Material, 1952-2006 (Boxes 18-20, OV 23; 1.9 linear feet)
Series 7: Photographs, circa 1947-1990s (Boxes 20-21; 1 linear feet)
Biographical / Historical:
Crafts expert Rose Slivka (1919-2004) was an editor, educator, and critic in New York City and East Hampton, NY. Slivka edited Craft Horizons magazine from 1957-1979, and then founded Crafts International, which published its first issue in 1980.
Rose Slivka was very active in the American Crafts Council and World Crafts Council, and promoted crafts by participating in conferences around the world, acting as a juror of competitions, writing, and teaching. The author of books and articles about crafts, including the entry on "Handicrafts" in the 1961 edition of Encyclopedia Britannica, Slivka was tireless in her search for information pertaining to crafts of all nations. Her study of the subject was integrated into a strong, far-reaching campaign to include sculpture as a craft and promote crafts on a par with fine art. She was also interested in poetry and taught courses in art criticism at New York University and the New School for Social Research.
Many of Slivka's articles on craft, painting and sculpture have been published in periodicals such as Art in America, Architectural Digest, and The New York Times. Books and exhibition catalogs include The Crafts of the Modern World (1964); The Object as Poet (1976), Renwick Gallery, Washington, DC; Peter Voulkos: A Dialogue in Clay (1978); California Clay (1979), Stedelijk Museum, Amsterdam; and The Book as Art and Artist (1979), Elaine Benson Gallery, Bridgehampton, NY. Slivka's writings have been translated into at least 7 languages.
Slivka was awarded the National Endowment for the Arts Critics Fellowship in 1976 and between 1980 and 1982 conducted a research project on "Criticism and Scholarship in Modern Craft" also sponsored by the National Endowment for the Arts. She was awarded The Rhode Island School of Design President's Fellows Award in 1982, and its highest honor, the Athena Medal. In addition, she served on the boards of directors for several New York City organizations including Clayworks Studio Workshop, New York Experimental Glassworks, and Center for Book Arts.
Following her career as a magazine editor, international speaker on crafts, writer, and educator, Slivka moved to East Hampton, Long Island, where she continued to write poetry and was art critic for The East Hampton Star newspaper.
Rose Slivka's was married to sculptor David Slivka; the couple had 2 children and eventually divorced. She died of heart failure in Southampton, NY, on September 2, 2004.
Provenance:
The Rose Slivka papers were donated to the Archives of American Art by Slivka's daughter, Charlotte Slivka, in 2008 and 2012.
Restrictions:
Use of original materials 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 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:
Editors -- New York (State) -- New York Search this
Art critics -- New York (State) -- New York Search this
An interview of Edgar Anderson conducted 2002 September 17-19, by Donna Gold, in Morristown, New Jersey, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Anderson describes his philosophy of nature, and the genetic affinities between trees and humans. He discusses childhood in Jersey City, New Jersey; his parents; his grandfather, who was a bookbinder and leather craftsman; and other influences from his childhood, including his uncles and the Stickley family's Craftsman Farms. He recalls that his mother was an accomplished painter and amateur architect; his father was responsible for constructing the foundations for the Chrysler Building. He describes his early admiration for Frank Lloyd Wright, and a meeting with Wright to inquire about the Taliesin Fellowship. Anderson did not join the Fellowship. He briefly discusses Ayn Rand and The Fountainhead. He recalls his architectural studies at Pratt Institute, including a structural investigation of Wright's Fallingwater house, and studying architectural rendering with Caleb Hornbostel. He describes his service during World War II, serving in Italy as a platoon commander for the Army Engineers. He talks about meeting his wife, Joyce, and the genesis of their working partnership. After the war, he and Joyce studied at Pratt under Philip Johnson; he recalls his student projects and the continuing influence of Frank Lloyd Wright. He also studied at Chicago Technical College. He recalls his apprenticeship building boats with his uncle. He describes, in technical detail, the early years of the practice, including a discussion of his wood supplier, the Monteath Company. He comments at length on his personal creative process, which includes elliptical references to a wide variety of sources, including Umberto Eco and the film 2001. He describes several projects for Lou and Sandy Grotta, including an anthropomorphic grandfather clock in the shape of a hand and wristwatch, an illusionary headboard, and the Knight table. He also comments on the Grotta house, designed by Richard Meier. He briefly mentions the editorial strategy of American Craft, and later Craft Horizon, and his relationships with editors such as John Kelsey, Paul Roman, and Rose Slivka. He mentions having taught at Philadelphia College of Art. He recalls racing in a demolition derby. He discusses his attitude towards criticism, mentioning Paul Smith, the director of the Museum of Contemporary Crafts, at length. He briefly describes his design for a 9/11 memorial at Liberty State Park and the political character of his work. He also reflects on his work relative to the culture at large. He talks about new technologies and new tools, and the evolution of the partnership. He describes his involvement in the craft community at Peters Valley, New Jersey. He comments at length on his apprentice Rob Sperber, and their development of the chainsaw mill.
Biographical / Historical:
Edgar Anderson (1922- ) is a woodworker from Morristown, New Jersey. Donna Gold (1953- ) is an art writer from Stockton Springs, Maine.
General:
Originally recorded 5 sound discs. Reformatted in 2010 as 24 digital wav files. Duration is 5 hr., 52 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own.
Collection Citation:
Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.
The papers of San Francisco metal-worker, jeweler, and painter Merry Renk measure 0.9 linear feet and date from 1952 to 2000. The collection comprises business records that include sales invoices, inventories, exhibition price lists, correspondence, and other material related to Renk's business activities. Also found are printed materials, a few sketches of utensils, writings, and a video recording of the documentary "Merry Renk: Jeweler" by Alan Leveton.
Scope and Contents:
The papers of San Francisco jeweler, painter, and metal-worker Merry Renk measure 0.9 linear feet and date from 1952 to 2000. The collection comprises business records that include sales invoices, inventories, exhibition price lists, and correspondence. Correspondents include Greta Daniel, Mrs. Vanderbilt Webb, Conrad Brown, Rose Slivka, Paul Soldner, Paul J. Smith, Alice W. Nichols, Roger Armstrong, and Francis S. Merritt. Also found is other material related to Renk's business activities; printed materials including clippings, exhibition announcements and catalogs; a few sketches of utensils; writings including an unpublished typescript with illustrations and a draft of Renk's biographical statement; and a video recording containing the documentary "Merry Renk: Jeweler" by Alan Leveton.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Series 1: Merry Renk Papers, 1952-2000 (1.1 linear feet; Boxes 1-2, OV 3)
Biographical / Historical:
Merry Renk (1921-2012) was a jeweler, painter, and metal-worker in San Francisco, California.
Renk was born in Trenton, New Jersey as Mary Ruth Gibbs. She studied painting at the Trenton School of Industrial Arts before moving to Chicago in 1946 to study at Illinois Institute of Technology. In Chicago, Renk founded the 750 Studio, an art gallery, with Olive Oliver and Mary Jo Slick. After taking some time to travel, she settled in San Francisco in 1948 where she became a prominent member of the arts and crafts community. Renk was instrumental in the founding of the San Francisco Metal Arts Guild and served as president in 1954. She also became an honorary fellow at the American Craft Council.
Renk is primarily known for her jewelry work but after suffering an eye injury in a car accident she began focusing on creating large scale sculptures using jewelry techniques sometime in the 1960s to 1970s.
Renk married Stanley Edwin Renk in 1941. After his death in World War II, she married fellow artist Earle Watt Curtis in 1958.
Related Materials:
Also in the Archives of American Art is an interview of Merry Renk conducted on January 18-19, 2001 by Arline M. Fisch for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America in Renk's home and studio in San Francisco, California.
Provenance:
The Merry Renk papers were donated in 2003 and 2004 by Merry Renk as a part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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 donor has retained all intellectual property rights, including copyright, that she may own in the following material: Unpublished typescript, "Memories for My Children's Children's Children's Children's Children's Children."
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- San Francisco Search this
Jewelers -- California -- San Francisco Search this
Metal-workers -- California -- San Francisco Search this
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Use of original materials 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
