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Jackson Pollock and Lee Krasner papers

Creator:
Pollock, Jackson, 1912-1956  Search this
Krasner, Lee, 1908-1984  Search this
Names:
Betty Parsons Gallery  Search this
Martha Jackson Gallery  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cavaliere, Barbara  Search this
Davis, Bill  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Eames, Ray  Search this
Forge, Andrew  Search this
Friedman, B. H. (Bernard Harper), 1926-  Search this
Glaser, Jane R.  Search this
Gray, Cleve  Search this
Greenberg, Clement, 1909-1994  Search this
Gruen, John  Search this
Holmes, Doloris  Search this
Isaacs, Reginald R., 1911-  Search this
Janis, Sidney, 1896-  Search this
Johnson, Philip, 1906-2005  Search this
Kadish, Reuben, 1913-1992  Search this
Maddox, Charles  Search this
Matter, Mercedes  Search this
McCoy, Sanford, Mrs.  Search this
Miller, Daniel  Search this
Miller, Robert, 1932 Apr. 17-  Search this
Motherwell, Robert  Search this
Namuth, Hans  Search this
Ossorio, Alfonso, 1916-1990  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rose, Barbara  Search this
Rouche, Burton  Search this
Smith, Tony, 1912-  Search this
Still, Clyfford, 1904-  Search this
Valliere, James  Search this
Wasserman, Tamara E.  Search this
Wright, William  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
16.1 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Date:
circa 1914-1984
bulk 1942-1984
Summary:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.

The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.

James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.

Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.

Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.

There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.

Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.

Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:

Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)

Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.

In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.

In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.

Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.

In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.

For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Jackson Pollock and Lee Krasner 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:
Art -- Economic aspects  Search this
Abstract expressionism  Search this
Painters -- New York (State)  Search this
Genre/Form:
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.polljack
See more items in:
Jackson Pollock and Lee Krasner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-polljack
Online Media:

Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records

Creator:
Park Place, The Gallery of Art Research, Inc. and Paula Cooper Gallery  Search this
Names:
Park Place Gallery Art Research, Inc.  Search this
Paula Cooper Gallery  Search this
Paula Johnson Gallery  Search this
Bartlett, Jennifer, 1941-  Search this
Campus, Peter, 1937-  Search this
Cooper, Paula, 1938-  Search this
Di Suvero, Mark, 1933-  Search this
Fleming, Dean  Search this
Forakis, Peter  Search this
Grosvenor, Robert, 1937-  Search this
Leonard, Zoe  Search this
Magar, Anthony, 1936-  Search this
Melcher, Tamara  Search this
Murray, Elizabeth, 1940-  Search this
Myers, Forrest Warden, 1941-  Search this
Novros, David, 1941-  Search this
Ruda, Edwin  Search this
Shields, Alan, 1944-  Search this
Smith, Tony, 1912-1980  Search this
Thompson, Bob, 1937-1966  Search this
Valledor, Leo  Search this
Extent:
50 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Transcripts
Photographs
Date:
1961-2006
Summary:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 50 linear feet and 0.001 GB and date from 1961 to 2006. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.
Scope and Content Note:
The records of the New York artist-cooperative Park Place, The Gallery of Art Research, Inc. and the Soho contemporary art gallery Paula Cooper Gallery measure 50 linear feet and 0.001 GB and date from 1961 to 2006. The collection documents the founding of the Park Place Gallery and its artists through correspondence, artists' files, photographic materials, financial records, printed and digital materials, and scattered business records. The bulk of the collection is Paula Cooper Gallery records; nearly two-thirds of which are artists' files containing a variety of materials such as correspondence, printed materials, and photographic materials. Also found is additional business correspondence, business records, financial records, and printed materials for Paula Cooper Gallery, as well as a handful of records from Paula Johnson Gallery.

The collection is divided in three series, one series for each gallery represented in this collection. The records in each series are not comprehensive and do not represent the full scope of operations at each gallery. Due to the original arrangement of materials, some records related to Park Place Gallery are found in Series 3, and scattered records related to Paula Cooper Gallery are found in Series 2. Researchers are encouraged to reference both series.

Series 1, Paula Johnson Gallery records, contains six folders and includes an artist file for Bob Thompson; two ledger pages of accounts receivables; scattered exhibition announcements and flyers; two photographs of artwork by Vernon Lobb; tax records, and a handful of legal organizational records.

Park Place, The Gallery of Art Research, Inc. records are filed in Series 2 and is arranged in five subseries: correspondence, business files, artists' files, financial records, and printed materials. The correspondence is between gallery employees and clients, museums, and other galleries regarding artwork inquiries, sales and exhibitions. Business files are limited in scope and include documents related to the founding of the gallery, a guest book, and one folder of legal and financial records. Artists' Files for eight of the ten Park Place Gallery artists are found: Dean Fleming, Peter Forakis, Tony Magar, Tamara Melcher, Forrest Myers, David Novros, Edwin Ruda, and Leo Valledor. Not present in this collection are files for Mark di Suvero and Robert Grosvenor. Artists' Files contain a variety of materials including artists' statements, bibliographies, biographies, correspondence, exhibition flyers, interview transcripts, clippings and other printed materials, and photographic materials. Financial Records include check ledgers, a general ledger, paid bill receipts, sales invoices, tax forms, and other miscellaneous financial and banking records. Printed Materials include newspaper clippings, gallery announcements, an interview transcript, a handwritten gallery floor plan, and a poster for the 1964 Park Place Invitational Show drawn by Mark di Suvero with artists' names handwritten by Robert Grosvenor.

The bulk of the collection is the records of Paula Cooper Gallery, Series 3. This series contains similar materials as Series 2 and is arranged in the same five subseries. Correspondence includes responses to appraisal requests (1968-1997) and copies of outgoing gallery correspondence from 1985-1999. Business Files contain documentation related to advertising and renovations to the gallery, as well as an artwork inventory book from the early years of the gallery's operation. The bulk of this series is comprised of Artists' Files which contain varied materials such as correspondence with artists, museums, and galleries regarding installations, artwork fabrication, and other business; biographies and bibliographies; exhibition files; printed materials; and photographic materials of artwork and installations. There is considerable documentation for artists Jennifer Bartlett, Peter Campus, Zoe Leonard, Elizabeth Murray, Alan Shields and the estate of Tony Smith. Sales invoices, consignment records, payment ledgers, cancelled checks and other financial materials are found in Financial Records. Printed Materials are comprised of some newspaper and magazine clippings, an interview transcript, and a copy of a manuscript.
Arrangement:
The collection is arranged as 3 series:

Series 1: Paula Johnson Gallery, 1963-1967 (Box 1; 6 folders)

Series 2: Park Place, The Gallery of Art Research, Inc., 1961-1973, 1989 (Boxes 1-4, 50-51, OV 52; 4.1 linear feet)

Series 3: Paula Cooper Gallery, 1962-2006 (Boxes 4-49, 51; 45.7 linear feet, ER01; 0.001 GB)
Historical Note:
The artists' cooperative Park Place, The Gallery of Art Research, Inc. opened in November 1965 at 542 West Broadway, showing the work of ten young contemporary artists. The cooperative did not represent an art movement, but frequently exhibited large-scale, non-figurative, geometric paintings and sculptures.

Many of the gallery's artists had attended art school in California and shared similar ideas about art, community, and collaboration. Since 1962, they had been informally exhibiting together at 79 Park Place and other various New York City locations under the name Park Place Gallery. With the successes of their informal exhibitions, and the loss of their lease at 79 Park Place, the group formalized their cooperative under the umbrella non-profit, Art Research, Inc. in 1965.

The cooperative was comprised of five sculptors, five painters, and five collectors. Members included sculptors Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, and Forrest Myers; painters Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor; and collectors Virginia Dwan, Allen and Betty Guiberson, J. Patrick Lannan, Vera List, and John and Lupe Murchison. The collectors each donated an artwork by one of the artists for sale in the gallery, as well as financed the gallery's annual operating budget. As compensation, each collector was given one major work of art by each artist every year.

Paula Cooper (nee. Johnson) joined Park Place Gallery in 1966 and she became director in late 1966-early 1967. Previously, from 1964-1966, she ran Paula Johnson Gallery, showing artwork by Bob Thompson and other young artists.

Park Place, The Gallery of Art Research, Inc. had its first group show in February 1966. In addition to showing art, the gallery occasionally held jazz sessions and other art-related gatherings. The gallery physically closed at the end of July 1967. However, Paula Cooper continued managing the sale of artwork and organized exhibitions at various locations. The final exhibition of Park Place Gallery artists was held at M.I.T. in late spring of 1968.

Paula Cooper opened Paula Cooper Gallery in Soho at 96 Prince Street in 1968. Her gallery is often credited as being the first gallery in Soho and thus paved the way for the migration of uptown galleries to the neighborhood. From the beginning, the gallery showed primarily conceptual and minimalist art and she continued representing some of the Park Place artists. Artists represented by Paula Cooper Gallery and found in this collection include Jennifer Bartlett, Dara Birnbaum, Peter Campus, Michael Hurson, Zoe Leonard, Robert Mangold, Elizabeth Murray, Cady Noland, Adrian Piper, Ulrich Rückriem, Edwin Ruda, Alan Shields, the estate of Tony Smith, Joseph White, Chris Wilmarth, Kes Zapkus, and many others. The gallery continues to operate in Chelsea on West 21st Street.

Sources consulted include "Reimaging Space: the Park Place Gallery Group in 1960s New York" by Linda Dalrymple Henderson, published by Blanton Museum of Art, 2008; and, "Art and Space: Park Place and the beginning of the Paula Cooper Gallery," by Liza Kirwin, 2007 (http://www.aaa.si.edu/exhibitions/paula-cooper).
Related Material:
Related collections found among the holdings of the Archives of America include a sound recording of a lecture given by Paula Cooper (Museum of Fine Arts, Boston sound recordings, May 18, 1983-February 8, 1984); audio tapes which include Paula Cooper (Bruce D. Kurtz video and audio recordings and papers, 1966-1995); and two silent 16mm films by Kenny Schneider (Park Place Gallery artists films, 1967.)
Provenance:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records were donated by Paula Cooper, director of the galleries, in two accessions in 2006 and 2009.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records are owned by the Archives of American Art, Smithsonian Institution. They may be used for research, study, and scholarship. Authorization to quote, publish or reproduce requires written permission from Paula Cooper, 534 West 21st Street, New York, NY 10011.
Topic:
Art galleries, Commercial  Search this
Genre/Form:
Interviews
Transcripts
Photographs
Citation:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.parkplag
See more items in:
Park Place, The Gallery of Art Research, Inc. records and Paula Cooper Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parkplag

Tony Smith, Nuremberg, Germany letter to Jackson Pollock and Lee Krasner

Creator:
Smith, Tony, 1912-1980  Search this
Pollock, Jackson, 1912-1956  Search this
Subject:
Krasner, Lee  Search this
Type:
Correspondence
Date:
1954 Mar. 12
Record number:
(DSI-AAA)14201
See more items in:
Jackson Pollock and Lee Krasner papers, circa 1914-1984, bulk 1942-1984
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14201
Online Media:

Interview with Tony Smith

Creator:
Smith, Tony, 1912-1980  Search this
Varian, Elayne H. (Elayne Hanley), 1913-1987  Search this
Type:
Sound Recording
Date:
circa 1967
Topic:
Architecture  Search this
Sculpture  Search this
Record number:
(DSI-AAA)12293
See more items in:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975, bulk 1964-1975
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12293

Oral history interview with Peter Agostini

Interviewee:
Agostini, Peter  Search this
Interviewer:
Roberts, Colette, 1910-  Search this
Names:
Columbia University -- Faculty  Search this
United States. Works Progress Administration  Search this
Bontecou, Lee, 1931-  Search this
Chamberlain, John, 1927-2011  Search this
Chryssa, 1933-2013  Search this
Cornell, Joseph  Search this
Cézanne, Paul, 1839-1906  Search this
De Chirico, Giorgio, 1888-  Search this
De Kooning, Willem, 1904-1997  Search this
Demuth, Charles, 1883-1935  Search this
Di Suvero, Mark, 1933-  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Dubuffet, Jean, 1901-1985  Search this
Duchamp, Marcel, 1887-1968  Search this
Ferber, Herbert, 1906-1991  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Giacometti, Alberto, 1901-1966  Search this
Greenberg, Clement, 1909-1994  Search this
Hague, Raoul, 1905-1993  Search this
Hare, David, 1917-1992  Search this
Hartley, Marsden, 1877-1943  Search this
Hopper, Edward, 1882-1967  Search this
Judd, Donald, 1928-1994  Search this
Kaprow, Allan  Search this
Kienholz, Edward, 1927-  Search this
Kline, Franz, 1910-1962  Search this
Kohn, Gabriel, 1910-1975  Search this
Kolbe, Georg, 1877-1947  Search this
La Tour, Onya, 1896-1976  Search this
Lachaise, Gaston, 1882-1935  Search this
Lassaw, Ibram, 1913-2003  Search this
Lippold, Richard, 1915-2002  Search this
Lipton, Seymour, 1903-1986  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Maillol, Aristide, 1861-1944  Search this
Manship, Paul, 1885-1966  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Marin, John, 1870-1953  Search this
Marisol, 1930-  Search this
Matisse, Henri, 1869-1954  Search this
Melville, Herman, 1819-1891  Search this
Mondrian, Piet, 1872-1944  Search this
Morris, Robert, 1931-2018  Search this
Nakian, Reuben, 1897-1986  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Oldenburg, Claes, 1929-  Search this
Poe, Edgar Allan, 1809-1849  Search this
Pollock, Jackson, 1912-1956  Search this
Pompon, François, 1855-1933  Search this
Reinhardt, Ad, 1913-1967  Search this
Rivera, Diego, 1886-1957  Search this
Roszak, Theodore, 1907-1981  Search this
Rothko, Mark, 1903-1970  Search this
Samaras, Lucas, 1936-  Search this
Scarpitta, Salvatore, 1919-2007  Search this
Segal, George, 1924-2000  Search this
Sheeler, Charles, 1883-1965  Search this
Smith, David, 1906-1965  Search this
Smith, Tony, 1912-1980  Search this
Spaventa, George, 1918-  Search this
Stankiewicz, Richard, 1922-1983  Search this
Sugarman, George, 1912-1999  Search this
Tobey, Mark  Search this
Whitman, Walt, 1819-1892  Search this
Zorach, William, 1887-1966  Search this
Extent:
99 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1968
Scope and Contents:
An interview of Peter Agostini conducted in 1968, by Colette Roberts, for the Archives of American Art at 151 Avenue B, New York, New York.
Mr. Agostini speaks of his childhood spent living throughout the five boroughs of New York; his interactions with clients of his father's acting employment agency; his early education in Catholic school and the creative freedom allotted by the nuns; his first feelings of isolation as an artist at the age of seven; the development of a sense of communication as the result of the loss of his mother at the age of three and time spent at a school for orphans; his early realization and vision of artistic destiny; his religious interests which lead to mysticism in his earlier work; his time spent working freely in the DaVinci Studio with Spaventa; the discovery by Hess of his works in Gallerie Grimaud; his attainment of the Longview Grant; his working experience throughout the Depression as part of the WPA casting plaster mannequins while working indirectly with Pollack as well as Marca Relli; his subsequent move to designing department store windows (use of Mondrian-like forms and lines); his feelings of his position as an observer; the importance of communication through art (communication without words); his rejection of the Abstract Expressionist group and choice of independence; the influence of the sculpture of Kolbe and Bache in the thirties; Clement Greenberg's distaste for his work; his feelings about the relative failure to sell his work due its unusual edginess and mystery; his role in the introduction of the work of contemporary European artists (Chausserian, Gauthier, Modrian) to the American group; his description of his own work as "traditionless"; his feelings of self-importance as one of the most original sculptors in the art world; his influence on the younger generation, particularly Marisol; the enslavement to originality that the younger generation faces; his attitudes towards American Art forms and their lack of rebellious spirit; the virtues of the American writers, such as Poe, Whitman, and Melville as American "knapsack" writers; his personal technique which places an emphasis on the "skin" or volume of something; his attempt to create quiet art, or art that merely indicates features; his frustration with teaching and the problems of regurgitated knowledge; the role of Meyer Shapiro in his teaching career at Columbia; the formation of the Club and its similarity to the Cubist's café scene; his opinions on the relationship of sex and sensuality in American art; his personal struggles, including the loss of his second wife and two of his brothers, in addition to the estrangement of his only daughter by his first wife; his feelings on the role of psycho analysis and personal history in a work of art; his present works which feature the "swell." For the majority of the second half of the interview Ms. Roberts asks Mr. Agostini to express his opinions on the work of: Kline; DeKooning; Duchamp; Oldenburg; La Tour; DeChirico; Maillol; Pompon; Rothko; Chardin; Cezanne; Giacometti; Reinhardt; Chryssa; Tony Smith; Segal; Lachaise; Zorach; Manship; Flannagan; Kelly; Lassaw; David Smith; Hare; Lipton; Ferber; Lippold; Roszak; Nakian; Noguchi; Hague; Kohn; di Suvero; Chamberlain; Kaprow; Sugarman; Stankiewicz; Bontecou; Scarpitta; Cornell; Keinholz; Rivera; Judd; Robert Morris; O'Keeffe; Samaras; Mark Tobey; Marin; Pollock; Hartley; Dove; Macdonald-Wright; Demuth; Sheeler; Hopper; Mirot; Matisse; DuBuffet.
Biographical / Historical:
Peter Agostini (1913-1993) was a sculptor from New York, New York.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 28 digital wav files. Duration is 10 hrs., 37 min.
Transferred from 4 3" reels.
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:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Abstract expressionism  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.agosti68
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-agosti68

Oral history interview with Al Hansen

Interviewee:
Hansen, Al, 1927-1995  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
New School for Social Research (New York, N.Y.) -- Students  Search this
Pratt Institute -- Students  Search this
Reuben Gallery  Search this
Brecht, George  Search this
Callahan, Harry M.  Search this
Dine, Jim, 1935-  Search this
Dunn, Bob  Search this
Dunn, Judith  Search this
Eisenhauer, Lette  Search this
Goldfine, Pauline  Search this
Groth, John, 1908-1988  Search this
Higgins, Dick, 1938-1998  Search this
Kaprow, Allan  Search this
Karp, Ivan C., 1926-2012  Search this
Mac Low, Jackson  Search this
Maciunas, George, 1931-1978  Search this
Marisol, 1930-  Search this
McCarey, Don  Search this
Moorman, Charlotte  Search this
Muller, Jan, 1922-1958  Search this
Nakian, Reuben, 1897-1986  Search this
Oldenburg, Claes, 1929-  Search this
Ortiz, Rafael Montanez  Search this
Paik, Nam June, 1932-  Search this
Poons, Larry  Search this
Segal, George, 1924-2000  Search this
Smith, Tony, 1912-1980  Search this
Vostell, Wolf, 1932-1998  Search this
Waring, James, 1922-1975  Search this
Watts, Robert M., 1923-1988  Search this
Extent:
2 Sound tape reels (Sound recording, 5 in.)
112 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1973 November 6-13
Scope and Contents:
Interview of Al Hansen conducted 1973 November 6-13, by Paul Cummings, for the Archives of American Art.
Hansen traces his personal history, recalling his childhood and early education in Queens; his service in the armed forces; and jobs he held in social work, advertising, off-Broadway theater, and art galleries. He describes taking classes with John Groth at the Art Students League in the 1940s; with Reuben Nakian at Pratt in the 1950s; and with John Cage at the New School in 1958. He also discusses the rise of New York as an art center; his interest in film; his involvement in experimental sound and music; his approach to creating Happenings and that of other artists; organizing poetry readings at the Epitome Coffee Shop; his Hershey bar wrapper collages; the writing of his book, "A Primer of Happenings and Space Time Art," (New York: Something Else Press 1965); his interactions with Fluxus and George Maciunas; participating in the "Below Zero" show at the Reuben Gallery in 1959; attending the Destruction In Art symposium in London in 1966; and his recent exhibitions in Germany. People he recalls include Tony Smith; Pauline Goldfine [ph]; Dick Higgins; Wolf Vostell; Larry Poons; Allan Kaprow; Claes Oldenburg; Don McCarey [ph]; Jim Dine; George Brecht; Jackson Mac Low; James Waring; Marisol Escobar; Ivan Karp; Bob Watts; George Segal; Judith Dunn; Bob Dunn; Jan Müller; Nam June Paik; Raphael Ortiz; Charlotte Moorman; and Lettie Lou Eisenhauer.
Biographical / Historical:
Al Hansen (1927-1995) was an artist from New York, New York. Founder of Fluxus art movement and one of the first Happenings artists.
Provenance:
These interviews are 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Fluxus (Group of artists)  Search this
Art, American  Search this
Art -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists -- New York (State) -- New York -- Interviews  Search this
Happening (Art)  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hansen73
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hansen73

Fritz Bultman papers

Creator:
Bultman, Fritz, 1919-1985  Search this
Names:
Boghosian, Varujan  Search this
Bultman, Jeanne  Search this
Cicero, Carmen, 1926-  Search this
Cornell, Joseph  Search this
Drexler, Sherman  Search this
Fromboluti, Sideo, 1921-  Search this
Graham, John, 1887-1961  Search this
Hofmann, Hans, 1880-1966  Search this
Hofmann, Maria, 1885-1963  Search this
Kees, Weldon, 1914-1955  Search this
Krasner, Lee, 1908-1984  Search this
Manso, Leo  Search this
Motherwell, Robert  Search this
Newman, Annette  Search this
Newman, Barnett, 1905-1970  Search this
Ossorio, Alfonso, 1916-1990  Search this
Ponsold, Renate  Search this
Reynal, Jeanne, 1903-  Search this
Rothschild, Judith  Search this
Sills, Thomas, 1914-  Search this
Simon, Sidney, 1917-1997  Search this
Smith, Tony, 1912-1980  Search this
Speyer, Nora  Search this
Tworkov, Jack  Search this
Vevers, Tony  Search this
Windham, Donald  Search this
Extent:
11.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Paintings
Drawings
Sketches
Sketchbooks
Diaries
Date:
1928-2010, bulk 1940s-1990s
Summary:
The papers of New York School painter and sculptor Fritz Bultman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships; Hans Hofmann is the most thoroughly documented subject. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.
Scope and Contents:
The papers of New York School painter and sculptor Fritz Bultlman, 1928-2010, bulk 1940s-1990s, measure 11.9 linear feet. They document Bultman's professional activities, ties to the Abstract Expressionist movement, and his personal life. Letters from friends and family include many from Hans and Maria Hofmann. Letters by Bultman are mostly to family; also found are a few drafts and copies of business and personal letters. Writings and notes are by and about Bultman. Notebooks/sketchbooks (39 volumes) include autobiographical writings, notes on dreams and thoughts while in psychoanalysis, many sketches and some completed drawings. Subject files reflect Bultman's professional activities, interests, and relationships. Extensive printed material concerns Bultman's activities and exhibitions; also included are his published writings. Most photographs are of artwork, Bultman, his family and friends. Also found are biographical materials, 4 diaries, 6 interviews with Fritz Bultman and Jeanne Bultman, and a small amount of artwork.

Biographical materials include school records and notice of Bultman's army classification.

Most letters are addressed to Fritz Bultman and his parents. Fritz's education in Munich and studying with Hans Hofmann is well-documented. Many letters are from Miz Hofmann and Hans Hofmann. Also found are a smaller number of letters from museums, galleries, universities, and arts organizations. The surviving letters by Bultman are mainly to his family. Most were written when he was a student in Munich or traveling in Europe. There are some drafts and copies of letters concerning professional activities, arrangements for lectures, exhibitions, and Cynthia Goodman's editing "Form and Color in the Creative Process: The Painter's Primer" by Hans Hofmann.

Most interviews focus on Bultman's career. An interview with Jeanne and Fritz Bultman is about John Graham, and one of the interviews with Jeanne Bultman concerns Hans Hofmann.

Bultman's writings and notes include articles, lectures and talks about Hans Hofman, lectures about his own work, and a book review. Among the writings about Bultman are articles, a catalog essay and exhibition review.

Notebooks/sketchbooks (39 volumes) contain a variety of writings and notes, including some that are autobiographical, along with sketches and several finished drawings. Some volumes consist of writings and notes with a few sketches and doodles while others are mainly sketchbooks containing a few stray notes and brief writings; many contain approximately the same amount of text and drawings.

Diaries (4 volumes) contain entries about his work, professional and personal activities. One volume is a record of his October 1978 trip to Istanbul.

Subject files contain varying combinations of correspondence, photographs, printed material, and manuscripts. The most extensive file relates to Hans Hofmann and includes copies of writings by him. Other files of note concern Joseph Cornell, the exhibitions "Forum '49" and "Forum '49 Revisited," Weldon Kees, Tony Smith, and Donald Windham.

The largest series, printed material, consists of exhibition catalogs, announcements, reviews, articles and clippings about or mentioning Bultman.

Noteworthy among the small amount of artwork by Bultman is an early print; also found are loose drawings and paintings on paper.

Photographs of artwork document the full range of Bultman's production --paintings, sculpture, drawings, collage, stained glass, interior design and decoration. Also found are a few photographs of works by other artists. Photographs of Fritz Bultman include many by Renate Ponsold. Other indentified individuals include parents Fred and Pauline Bultman, sister Muriel Bultman, childhood nurse Katie Belle, son Johann Bultman, Sherman Drexler, Hans Hofmann, Miz Hofmann, Miss Katsura, Lee Krasner, Annalee Newman, Barnett Newman, Alfonso Ossorio, Jeanne Reynal, Thomas Sills, Jack Tworkov, and Wally Tworkov. A group portrait of the artists of Long Point Gallery includes: Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Budd Hopkins, Rick Klauber, Lee Manso, Sidney Simon, Robert Motherwell, Judith Rothschild, Nora Speyer, and Tony Vevers. Also found in this series are photographs of Bultman exhibition installations and views of miscellaneous places.
Arrangement:
The collection is arranged in 10 series:

Series 1: Biographical Materials,1928-2003 (Box 1; 0.1 linear feet)

Series 2: Letters, 1930-1995 (Box 1; 0.4 linear feet)

Series 3: Interviews, 1968-1998 (Box 1; 0.4 linear feet)

Series 4: Writings and Notes, 1935-circa 1980s (Boxes 1-2; 0.8 linear feet)

Series 5: Notebooks/Sketchbooks, 1937-circa 1979 (Boxes 2-3, 11; 0.7 linear feet)

Series 6: Diaries, 1977-1979 (Box 3; 0.3 linear feet)

Series 7: Subject Files, 1942-2010 (Boxes 3-5, 11; 2.3 linear feet)

Series 8: Printed Material, 1941-2006 (Boxes 5-9, OV 12; 3.5 linear feet)

Series 9: Artwork, circa 1930s-1956 (Boxes 9, 11; 0.1 linear feet)

Series 10: Photographs, 1935-1997 (Boxes 9-10; 0.6 linear feet)
Biographical / Historical:
Fritz Bultman (1919-1985), a New York School painter and sculptor who lived and worked in Provincetown, Massachusetts and New York City, was also a collagist, stained glass artist, and educator.

Anthony Fred Bultman, III --always known as Fritz --was from a prominent and cultured New Orleans family. He began studying art as a boy and one of his teachers was Morris Graves, a family friend. His last 2 years of high school were spent at the Munich Preparatory School, boarding with Mrs. Hans Hofmann whose husband was working in New York for an extended period. Bultman attended the New Bauhaus in Chicago before studying for three years with Hans Hofmann in New York City and Provincetown, Massachusetts. As well as being a major influence on Bultman's development as a painter, Hofmann became a life-long friend.

Fritz Bultman met dancer and model Jeanne Lawson (1918-2008), when she was posing in Hofmann's studio during the summer of 1941. They married in 1943 and the following year bought a house in Provincetown. In 1945, Bultman built a studio designed by a friend from the New Bauhaus, sculptor and architectural designer Tony Smith, who also helped with its construction.

His first solo exhibition was held in 1947 at the Hugo Gallery, New York; others followed in 1950, again at Hugo Gallery and at Kootz Gallery, New York. After receiving an Italian Government Grant for Exchange Fellowship, Bultman spent 1950-1951 in Florence, Italy, where he learned the process of casting and began making metal sculpture. In 1952 the Bultmans moved to New York City. Depressed and beset by anxiety, Bultman began Freudian psychoanalysis, and between 1952 and 1956 produced very little artwork.

In 1958 Bultman resumed exhibiting and continued to show regularly for the remainder of his life. He enjoyed solo exhibitions in New York City, Paris, New Orleans, North Carolina, Provincetown, and other venues. Between 1958 and 1963 Bultman taught painting at Hunter College and was an instructor in design and painting at Pratt Institute. Bultman spent 1964-1965 in Paris on a Fulbright Grant painting and sculpting, studying European methods of bronze casting, and meeting French artists. Bultman maintained his reputation as a highly regarded art instructor and in later years was a sought after guest lecturer at a various colleges. While artist-in-residence at Kalamazoo College, Michigan in 1981, he designed and produced a stained glass mural with technical assistance from his wife, Jeanne Bultman, a skilled artisan.

Fritz Bultman died of cancer in Provincetown, Massachusetts, in 1985.
Related Materials:
An oral history interview with Fritz Bultman, 1986 January 6, was conducted by Irving Sandler for the Archives of American Art (available on microfilm reel 3196).
Provenance:
Gift of Fritz Bultman in 1984, which included material lent for microfilming in 1970 and 1971. Additions donated by Jeanne Bultman, his widow, in 1988 and 2000, and by his sons, Anthony F. Bultman, IV and Ellis Johann Bultman, in 2013.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Fritz Bultman 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:
Sculptors -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
New York school of art  Search this
Abstract expressionism  Search this
Genre/Form:
Photographs
Interviews
Paintings
Drawings
Sketches
Sketchbooks
Diaries
Citation:
Fritz Bultman papers, 1928-2010, bulk 1940s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bultfrit
See more items in:
Fritz Bultman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bultfrit

Pat Lipsky papers

Creator:
Lipsky, Pat, 1941-  Search this
Names:
Greenberg, Clement, 1909-1994  Search this
Krasner, Lee, 1908-1984  Search this
Pollock, Jackson, 1912-1956  Search this
Smith, Tony, 1912-1980  Search this
Extent:
2 Items
Type:
Collection descriptions
Archival materials
Date:
1995
Scope and Contents:
Two transcripts relating to Lipsky's personal relationships with people associated with Jackson Pollock. Included are a 21 p. transcript of a talk given by Lipsky, July 1995, "What Tony and Lee and Clem Told Me, A Reminiscence," [Tony Smith, Lee Krasner and Clement Greenberg]; and a transcript of an interview with Lipsky (interviewer unidentified) on Greenberg's visit to her studio, entitled, "Clement Greenberg in the Studio."
Biographical / Historical:
Painter; New York.
Provenance:
Donated 1997 by Pat Lipsky.
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.
Identifier:
AAA.lipssutt
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipssutt

Oral history interview with Anne Rorimer

Interviewee:
Rorimer, Anne  Search this
Interviewer:
Richards, Judith Olch  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Albright-Knox Art Gallery  Search this
Art Institute of Chicago -- Faculty  Search this
Bryn Mawr College -- Students  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Metropolitan Museum of Art (New York, N.Y.) -- Employees  Search this
Victoria and Albert Museum  Search this
Acconci, Vito, 1940-  Search this
Asher, Michael  Search this
Broodthaers, Marcel  Search this
Buchloh, B. H. D.  Search this
Buren, Daniel  Search this
Castelli, Leo  Search this
D'Harnoncourt, Anne, 1943-2008  Search this
Geldzahler, Henry  Search this
Graham, Dan, 1942-  Search this
Hale, Robert Beverly, 1901-1985  Search this
Hesse, Eva, 1936-1970  Search this
Kuh, Katharine  Search this
LeWitt, Sol, 1928-2007  Search this
Lippard, Lucy R.  Search this
Lowry, Bates, 1923-  Search this
Maxon, John, 1916-  Search this
Morris, Robert, 1931-2018  Search this
Nauman, Bruce, 1941-  Search this
Newman, Muriel Kallis Steinberg  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Smith, Tony, 1912-1980  Search this
Speyer, A. James  Search this
Stamos, Theodoros, 1922-1997  Search this
Tucker, Marcia  Search this
Wegman, William  Search this
Weiner, Lawrence.  Search this
Extent:
147 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 November 15-16
Scope and Contents:
An interview of Anne Rorimer conducted 2010 November 15-16, by Judith Olch Richards, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Rorimer's home, in Chicago, Illinois.
Rorimer speaks of her family background; her early life and education in New York City; her father, James Rorimer, and his influence as director of the Metropolitan Museum of Art; college life at Bryn Mawr; how she became interested in modern art; her internship at the Victoria & Albert Museum in London after college; her master's degree thesis on Tony Smith; her job as a curator at the Albright-Knox Gallery and then at the Art Institute of Chicago; memorable exhibitions at the AIC throughout the 1970s and early 1980s, including the annual "American Exhibition," "Europe in the Seventies: Aspects of Recent Art," (1977), and "Idea and Image in Recent Art" (1974); her close relationship with Anne D'Harnoncourt; how she left the AIC in 1984 to write, "New Art in the '60s and 70s: Redefining Reality," (2001); her role in acquisitions of contemporary art at the AIC; her thoughts on art education; her work with collectors; the process of getting her book published and reactions to it; her curatorial projects in the 1980s and early 1990s that focused on conceptual art; her relationship with artists like Michael Asher and Daniel Buren; her extensive book collection; her thoughts on being a freelance curator and writer. She recalls Whitney Stoddard, Robert Beverly Hale, Theodoros Stamos, Leo Castelli, Henry Geldzahler, Anne D'Harnoncourt, Renee Marcuse, Bates Lowry, Tony Smith, Marcia Tucker, A. James Speyer, Bruce Nauman, Lawrence Weiner, Vito Acconci, William Wegman, Robert Morris, Lucy R. Lippard, Katharine Kuh, Sol Lewitt, John Maxon, Eva Hesse, Muriel Newman, Judith Kirschner, Dan Graham, Benjamin Buchloh, and Marcel Broodthaers.
Biographical / Historical:
Anne Rorimer (1944-) is a curator and art historian in Chicago, Illinois. Judith Olch Richards (1947-) is a former executive director of iCI in New York, New York.
General:
Originally recorded on 4 memory cards. Reformatted in 2010 as 6 digital wav files. Duration is 5 hr., 36 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.
Occupation:
Authors -- Illinois -- Chicago  Search this
Topic:
Art -- Collectors and collecting  Search this
Art, Modern -- 20th century  Search this
Art historians -- Illinois -- Chicago -- Interviews  Search this
Conceptual art  Search this
Curators -- Illinois -- Chicago -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.rorime10
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rorime10

Oral history interview with Tony Smith, 1978 August 22-30

Interviewee:
Smith, Tony, 1912-1980  Search this
Interviewer:
Cummings, Paul, 1933-  Search this
Type:
Sound recordings
Interviews
Topic:
Art, American  Search this
Sculpture, Modern -- 20th century -- History -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)12890
(DSI-AAA_SIRISBib)213103
AAA_collcode_smitht78
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213103

Juliette Leff papers

Creator:
Leff, Juliette, 1939-1987  Search this
Names:
Fabri, Ralph, 1894-1975  Search this
Gottlieb, Adolph, 1903-1974  Search this
Kalcheim, Lee  Search this
Millier, Arthur, 1893-  Search this
Smith, Tony, 1912-1980  Search this
Extent:
41 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1965-1979
Scope and Contents:
A resume and a statement of purpose; correspondence, including letters from Adolf Gottlieb, Arthur Millier, Ralph Fabri, and Lee Kalcheim; lecture notes from a course given by Tony Smith at Hunter College, New York; and a clipping.
Biographical / Historical:
Painter and educator; New York, N.Y. Studied at City College, New York and Hunter College under Mark Rothko and Tony Smith. She has won a number of fellowships including the Max Beckmann and the Jackson Pollock-Lee Krasner fellowships. Her art works are multimedia in nature.
Provenance:
Leff donated her papers on July 31, 1979; however, she requested that the materials be returned to her in May 1985.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Educators  Search this
Painters  Search this
Topic:
Women artists  Search this
Painting, Modern -- 20th century -- History -- New York (State) -- New York  Search this
Identifier:
AAA.leffjuli
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-leffjuli

Emily Nathan papers

Creator:
Nathan, Emily  Search this
De Creeft, José, 1884-1982  Search this
Lerner, Abram, first director and curator  Search this
Names:
Archives of American Art  Search this
Smithsonian Institution -- Public relations.  Search this
Towle Mfg. Company -- Public relations  Search this
De Creeft, José, 1884-1982  Search this
Hirshhorn, Joseph H.  Search this
Johns, Jasper, 1930-  Search this
McLanathan, Richard B. K.  Search this
Rothko, Mark, 1903-1970  Search this
Smith, Tony, 1912-1980  Search this
Spyropoulous, Jannis, 1912-  Search this
Woolfenden, William E. (William Edward), 1918-1995  Search this
Photographer:
Namuth, Hans  Search this
Extent:
1 Linear foot
5 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
[ca. 1935-1985]
Scope and Contents:
Correspondence and files relating to several art projects planned for the public relations programs of industries and museums, particularly Nathan's work with Towle Manufacturing and its gallery, the Smithsonian Institution, and the Archives of American Art.
1973 DONATION (1.0 ft.): Correspondence and project files for various clients. Of note are two photographs of Jasper Johns, and one each of Mark Rothko and Tony Smith, all taken by Hans Namuth, 1960.
ADDITION: Files relating to Nathan's work as public relations consultant for the silver company,Towle Manufacturing and its gallery, (ca.1951-ca.1957), include photographs of exhibits, silversmiths at work and Towle executives, as well as correspondence, writings, notes on silversmithing and its history, and newsletters. Files relating to Nathan's work at the Smithsonian Institution's museums and exhibitions, 1960's-ca. 1985, consist of subject files, clippings, catalogs, articles, press releases, newsletters, and reports. Publicity files also cover the opening of the National Portrait Gallery and its inaugural exhibition. Nathan's work for the Archives of American Art, from its first becoming a bureau of the Smithsonian in 1970, is documented through subject files, membership lists, reports to trustees and the director, newsletters, clippings, catalogs, budgets and statistics. Correspondence consists of letters to Georgia O'Keeffe regarding a pending oral history with the sculptors Dorothy Dehner and David Smith. The majority of the photographs are of personalities long associated with the Archives of American Art.
Letter from museum administrator and lecturer daniel Catton Rich expresses his pleasure at having met Jannis and Zoe Spyropoulous in Athens, Greece and describes the painting by Jannis that he purchased for the Worcester Art Museum.
Also found are interviews conducted by Nathan for Radio Smithsonian, including an interview of New York, N.Y. cartoonist and inventor Rube Goldberg (1883-1970) conducted in 1970 (Originally recorded on 1 sound cassette tape. Reformatted in 2010 as 1 digital wav file. Duration is 1 hr., 39 min.; 33 p. transcript; an interview of art historian and writer Richard B. K. McLanathan , 1970; an interview of the Director of the Archives of American Art William E. Woolfenden conducted in 1970, an interview of Abram Lerner, Director of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, and art collector Joseph Hirshhorn, 1969 (sound cassette); Also found is an interview of William Woolfenden by Nathan conducted May 6, 1983 upon his retirement as Director of the Archives of American Art.
Also found is a folder of material assembled by Nathan regarding Jose de Creeft's story, as told to Nathan, of his pet rooster, intended by Nathan to be submitted for publication under the title "Roosty Was My Friend." Included are an introduction by Nathan, providing biographical information on de Creeft; sample text for the story (2 pages) and an outline for the remainder (3 pages), 24 drawings by de Creeft illustrating the story; and a photograph of de Creeft with a wire sculpture of Roosty, 1957, taken by Budd studio.
Biographical / Historical:
Emily Nathan was a public relations consultant and journalist, had many contacts in the art world. De Creeft was a sculptor; born 1884 in Spain. He eventually settled in New York. He died in 1982.
Public relations consultant and journalist.
Provenance:
Donated 1973-1988 by Emily Nathan and in 2000 by the Emily Nathan estate, via Edgar S. Nathan, III, executor. The letter to Nathan from Daniel Catton Rich was donated by Rich, 1977.
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.
Occupation:
Public relations consultants  Search this
Topic:
Roosters -- Pictorial works  Search this
Roosters -- Anecdotes  Search this
Caricatures and cartoons  Search this
Art, American  Search this
Cartoonists -- Interviews  Search this
Inventors -- Interviews  Search this
Archives -- Public relations  Search this
Museums -- Public relations  Search this
Arts administrators -- New York (State) -- New York -- Interviews  Search this
Art and industry  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.nathemil2
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-nathemil2

Oral history interview with Tony Smith

Interviewee:
Smith, Tony, 1912-1980  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
72 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1978 August 22-30
Scope and Contents:
An interview of Tony Smith conducted 1978 August 22-30, by Paul Cummings, for the Archives of American Art.
Biographical / Historical:
Tony Smith (1912-1980) was a sculptor from New York, N.Y.
General:
Originally recorded 2 sound tape reel. Reformatted in 2010 as 4 digital wav files. Duration is 4 hr., 15 min.
Provenance:
These interviews are 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 others.
Restrictions:
Use requires an appointment.
Topic:
Art, American  Search this
Sculpture, Modern -- 20th century -- History -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.smitht78
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smitht78

Oral history interview with Buffie Johnson

Interviewee:
Johnson, Buffie  Search this
Interviewer:
Shikler, Barbara  Search this
Creator:
Mark Rothko and His Times Oral History Project  Search this
Names:
Mark Rothko and His Times Oral History Project  Search this
Rothko Chapel (Houston, Tex.)  Search this
Goossen, E. C.  Search this
Gottlieb, Adolph, 1903-1974  Search this
Guggenheim, Peggy, 1898-  Search this
Krasner, Lee, 1908-1984  Search this
Newman, Barnett, 1905-1970  Search this
Putzel, Howard, 1898-1945  Search this
Rothko, Mark, 1903-1970  Search this
Smith, Tony, 1912-1980  Search this
Extent:
2 Cassettes (Sound recording, analog.)
16 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Cassettes
Pages
Sound recordings
Interviews
Date:
1982 Nov. 13
Scope and Contents:
An interview of Buffie Johnson conducted 1982 Nov. 13, by Barbara Shikler, for the Archives of American Art's Mark Rothko and His Times oral history project.
Johnson talks about her friendship with Rothko, recalling their meeting in 1942 or 1943; introducing Rothko to Peggy Guggenheim; Rothko's philosophical interests; a visit to Rothko's studio shortly before his death; the women in his life; and the Houston chapel paintings. She recalls Howard Putzel, Peggy Guggenheim, Barney Newman, Adolf Gottlieb, Gene Goossen, Tony Smith, Lee Krasner, and others.
Biographical / Historical:
Buffie Johnson (1912-2006) was a painter from New York, N.Y.
Provenance:
This interview was conducted as part of the Archives of American Art's Mark Rothko and his Times oral history project, with funding provided by the Mark Rothko Foundation.
Others interviewed on the project (by various interviewers) include: Sonia Allen, Sally Avery, Ben-Zion, Bernard Braddon, Ernest Briggs, Rhys Caparn, Elaine de Kooning, Herbert Ferber, Esther Gottlieb, Juliette Hays, Sidney Janis, Jacob Kainen, Louis Kaufman, Jack Kufeld, Katharine Kuh, Stanley Kunitz, Joseph Liss, Dorothy Miller, Betty Parsons, Wallace Putnam, Rebecca Reis, Maurice Roth, Sidney Schectman, Aaron Siskind, Joseph Solman, Hedda Sterne, Jack Tworkov, Esteban Vicente and Ed Weinstein. Each has been cataloged separately.
Restrictions:
Transcript is available on the Archives of American Art's website.
Topic:
Abstract expressionism  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.johnso82
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johnso82

Oral history interview with Joseph L. Brotherton

Interviewee:
Brotherton, Joseph L., 1918-2012  Search this
Interviewer:
Karlstrom, Paul J.  Search this
Names:
University of Washington -- Students  Search this
James, Will, 1892-1942  Search this
Russell, Charles M. (Charles Marion), 1864-1926  Search this
Smith, Tony, 1912-1980  Search this
Extent:
24 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1999 March 5-2001 January 23
Scope and Contents:
An interview of Joseph L. Brotherton conducted 1999 March 5-2001 January 23, by Paul Karlstrom, for the Archives of American Art, in Brotherton's home, in San Francisco, California.
Biographical / Historical:
Joseph L. Brotherton (1918-2012 ) was an actor, painter, and collector from San Francisco, California.
Brotherton attended the University of Washington, Seattle (1936-1940), and the San Francisco Conservatory of Music (1949-1952). In 1945, after service in US Naval Armed Guard, he was assigned to the Western Sea Frontier in San Francisco.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 4 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. Funding for the transcription of this interview provided by the Pasadena Art Alliance.
Restrictions:
Transcript available on the Archives of American Art website.
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.brothe99
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brothe99

Oral history interview with Buffie Johnson

Interviewee:
Johnson, Buffie  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Hayter, Stanley William, 1901-1988  Search this
Hofmann, Hans, 1880-1966  Search this
Pollock, Jackson, 1912-1956  Search this
Putzel, Howard, 1898-1945  Search this
Rothko, Mark, 1903-1970  Search this
Smith, Tony, 1912-1980  Search this
Extent:
2 Sound tape reels (Sound recording, 5 in.)
140 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1977 Nov. 22-1978 Jan. 23
Scope and Contents:
An interview of Buffie Johnson conducted 1977 Nov. 22-1978 Jan. 23, by Paul Cummings, for the Archives of American Art.
Johnson speaks of her childhood in New York City and Ducksbury, Mass.; her early encouragement in art; life in Paris and the European scene before World War II. She discusses gettting established as a painter, selling her early work, the change in her painting toward abstraction, her friendship with gallery owner Howard Putzel, painting a mural for a movie theater, her inspirations for painting and her interest in the women's movement. She recalls Tony Smith, Hans Hofmann, Stanley William Hayter, Mark Rothko, and Jackson Pollock.
Biographical / Historical:
Buffie Johnson (1912-2006) was a painter and muralist from New York, N.Y.
Provenance:
These interviews are 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 others.
Restrictions:
Transcript: Use requires an appointment.
Topic:
Painting, Abstract -- New York (State) -- New York  Search this
Mural painting and decoration -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York -- Interviews  Search this
Painters -- New York (State) -- New York -- Interviews  Search this
Women artists  Search this
Muralists -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.johnso77
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johnso77

Fischbach Gallery records

Creator:
Fischbach Gallery  Search this
Names:
Thiabaut Galley  Search this
Altoon, John, 1925-  Search this
Antonakos, Stephen, 1926-2013  Search this
Bladen, Ronald, 1918-1988  Search this
Chamberlain, Wynn  Search this
D'Arcangelo, Allan, 1930-  Search this
Davis, Gene, 1920-1985  Search this
Dunn, Anne  Search this
Gilardi, Piero, 1942-  Search this
Hesse, Eva, 1936-1970  Search this
Katz, Alex, 1927-  Search this
Krushenick, Nicholas, 1929-1999  Search this
Levine, Les, 1935-  Search this
Mangold, Robert, 1937-  Search this
Ohlson, Douglas Dean, 1936-  Search this
Ryan, Anne, 1889-1954  Search this
Ryman, Robert, 1930-  Search this
Slavin, Arlene, 1942-  Search this
Smith, Tony, 1912-  Search this
Sugarman, George, 1912-1999  Search this
Swain, Robert, 1940-  Search this
Extent:
39.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1937-2015
bulk 1963-1977
Summary:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials. The 2015 addition of 14 linear feet consists of inventory and client sales records in the form of card indexes. The 2019 addition consists of material related to Marilyn Fischbach's art collection.
Scope and Content Note:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials.

Artists and Exhibition Files contain information on over one hundred Fischbach Gallery artists and measure 18 linear feet. The contents of each file varies, but typically may include biographical information; correspondence between the artist, museums, and other galleries; scattered consignment information; printed materials including articles, clippings, exhibition announcements and catalogs, and press releases; photographs of the artist, installations, constructions, and works of art; and negatives, slides, and transparencies. Substantial files are found for John Altoon, Stephen Antonakos, Ronald Bladen, Wynn Chamberlain, Allan D'Arcangelo, Gene Davis, Anne Dunn, Piero Gilardi, Eva Hesse, Alex Katz, Nicholas Krushenick, Les Levine, Robert Mangold, Doug Ohlson, Anne Ryan, Robert Ryman, Arlene Slavin, Tony Smith, George Sugarman, and Robert Swain, among others. Also included are files pertaining to group exhibitions including "According to the Letter" (1963), "Hard Center" (1963), "Six Women" (1965), "Game Without Rules" (1966), "Direct Representation" (1969), and "Eccentric Abstraction" (1966) which was organized by Lucy Lippard.

General gallery correspondence is business correspondence between the gallery and companies, individuals, museums, galleries, dealers, new or non-Fischbach artists, and institutions. Additional business records consist of an address book, lists of Fischbach artists, gallery plans, a notebook, as well as guest lists, mailing lists, and press lists.

Financial records are access restricted and require written permission from the donor's representative for use. The files document financial transactions for many of the artists represented in the artists files and includes sales records, invoices, artists' payments, and correspondence about sales and possible sales. The alphabetical financial files document routine gallery business, such as framing, shipping, insurance, messenger, publicity, etc. and are organized by name of business. General financial files consist of accounting ledgers, banking documents, insurance claims, and travel accounts.

Printed materials consist of various business cards, clippings concerning the Fischbach Gallery, and a pamphlet by Ron Williams as a guide to New York galleries. The bulk of printed materials are found in the Artists and Exhibition Files.

A small series of photographs include those from the Thiabaut Gallery, and unidentified photos of landscapes. It is likely that Fischbach Gallery occupied the space previously used by the Thiabaut Gallery and some materials were included in the collection for that reason. The bulk of photographic materials are found in the Artists and Exhibition Files.

In 2015, 14 feet of records were added to the collection. The addition consists of inventory and client sales records in the form of card indexes. The addition is access-restricted until 2065.

A 2019 addition of 0.2 linear feet, consisting of material related to Marilyn Fischbach's art collection, was processed in 2020.
Arrangement:
The collection is arranged as 9 series.

Series 1: Artists and Exhibitions Files, 1937-1977 (Boxes 1-18, 28; 18 linear feet)

Series 2: Gallery Correspondence, 1962-1974 (Boxes 18-19; 1.75 linear feet)

Series 3: Business Records, 1969-1971 (Box 27; 0.3 linear feet)

Series 4: Financial Records, 1963-1975 (Boxes 20-25; 4.5 linear feet)

Series 5: Printed Material, 1963-1972 (Box 26; 6 folders)

Series 6: Photographs, circa 1960s (Box 26; 2 folders)

Series 7: Inventory Card Indexes, circa 1960s-2015 (12.1 linear feet; Box 29-41)

Series 8: Client Sales Card Index, circa 1970s-2000s (1.9 linear feet; Box 41-42)

Series 9: Marilyn Fischbach Collection Records, circa 1975-2000 (0.2 linear feet; Box 43)
Historical Note:
The Fischbach Gallery was founded in 1960 by Marilyn Cole Fischbach at 799 Madison Avenue in New York City. The gallery was noted for its stable of minimalist young artists in the 1960s, and the work of the painterly realists in the 1970s. The gallery remains open today.

During its early years, the gallery was among the first to focus on 1960s avant-garde and minimalist artists. Marilyn possessed a talent for discovering young artists and for helping them advance their careers. Many of these young artists became well-known, including Ronald Bladen, Eva Hesse, and Alex Katz. Other artists represented by the gallery include Allan D'Arcangelo, Les Levine, Robert Mangold, Robert Ryman, George Sugarman, and Robert Swain.

The gallery also had an active exhibition schedule and organized and hosted group exhibitions of modern art, including "According to the Letter" (1963), "Hard Center" (1963), and "Direct Representation" (1969). Additionally, the Fishbach Gallery hosted "Eccentric Abstraction" in 1966, an exhibition organized by Lucy Lippard.

Later, the gallery moved to W. 57th Street in Manhattan. Fischbach hired A. Aladar Marberger as director of the gallery. Under his direction, the Fischbach Gallery shifted from the avant-garde to contemporary American realism and minimalist sculpture. In the 1980s, Marilyn Fischbach brought three investors into the gallery. She remined a co-owner, but lived in Paris, France for many years prior to her death at the age of seventy-two. The Fischbach Gallery remains open at 210 West 11th Street at 25th Street in New York City.
Provenance:
Gallery founder Marilyn C. Fischbach and director A. Aladar Marberger donated the majority of the Fischbach Gallery records in 1978. Additional records were donated in 2001 by Maureen Dawley on behalf of the Carnegie Mellon University and in 2015 and in 2019 by John Fischbach, Marilyn C. Fischbach's son.
Restrictions:
Use of original papers requires an appointment. Written permission from the donor is also required to view the series of financial records and the 2015 addition of card indexes. Contact the Reference Services Department for more information.
Rights:
The Fischbach 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:
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, American  Search this
Art, Modern -- 20th century -- United States  Search this
Minimal art -- United States  Search this
Artists -- United States  Search this
Genre/Form:
Gallery records
Photographs
Citation:
The Fischbach Gallery records, 1937-2015, bulk 1963-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fiscgall
See more items in:
Fischbach Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fiscgall
Online Media:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Creator:
Finch College. Museum of Art  Search this
Varian, Elayne H.  Search this
Names:
Acconci, Vito, 1940-  Search this
Anderson, David K., 1935-  Search this
Benglis, Lynda, 1941-  Search this
Benyon, Margaret, 1940-  Search this
Bochner, Mel, 1940-  Search this
Brooks, James, 1906-1992  Search this
Castelli, Leo  Search this
Chase, Doris, 1923-  Search this
Cross, Lloyd G.  Search this
Davis, Douglas  Search this
Dwan, Virginia  Search this
Feigen, Richard L., 1930-  Search this
Glimcher, Arnold B.  Search this
Gottlieb, Adolph, 1903-1974  Search this
Graham, Dan, 1942-  Search this
Hollander, Irwin  Search this
Insley, Will, 1929-2011  Search this
Jackson, Martha Kellogg  Search this
Janis, Sidney, 1896-1989  Search this
Kirby, Michael  Search this
Levine, Les, 1935-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Mazur, Michael, 1935-2009  Search this
Meyer, Ursula, 1915-  Search this
Nauman, Bruce, 1941-  Search this
O'Doherty, Brian  Search this
Parsons, Betty  Search this
Richter, Hans, 1888-1976  Search this
Siegelaub, Seth, 1941-  Search this
Smith, Tony, 1912-1980  Search this
Sonfist, Alan  Search this
Weiner, Sam  Search this
Wise, Howard  Search this
Extent:
20.9 Linear feet
Type:
Collection descriptions
Archival materials
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Date:
1943-1975
bulk 1964-1975
Summary:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.
Scope and Contents:
The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.
Arrangement:
The collection is arranged as 4 series.

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)
Biographical / Historical:
The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.
Provenance:
The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art 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:
Museum administrators -- New York (State) -- New York  Search this
Museum curators -- New York (State) -- New York  Search this
Topic:
Sculptors -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Video artists -- New York (State) -- New York  Search this
Gallery directors  Search this
Gallery owners  Search this
Genre/Form:
Transcripts
Interviews
Photographs
Sound recordings
Video recordings
Museum records
Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.finccoll
See more items in:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-finccoll
Online Media:

Oral history interview with Susan Crile

Interviewee:
Crile, Susan, 1942-  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Alloway, Lawrence, 1926-1990  Search this
Feeley, Paul, 1910-1966  Search this
Greenberg, Clement, 1909-1994  Search this
Olitski, Jules, 1922-2007  Search this
Smith, Tony, 1912-1980  Search this
Extent:
2 Sound tape reels (Sound recording, 5 in.)
101 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1972 August 1-3
Scope and Contents:
Interview of Susan Crile conducted 1972 August 1-3, by Paul Cummings, for the Archives of American Art. Crile speaks of her family background; having polio and problems with her eyesight; her education at Connecticut College, Bennington College, and New York University; art criticism; her teachers, including Lawrence Alloway, Paul Feeley, Jules Olitski, Tony Smith, and Esteban Vicente; Clement Greenberg's theories and relationships with artists; forming a discussion group with painters, poets, and musicians; working in pastel; her still lifes and "rug paintings"; color; and the artist's need for emotional support.
Biographical / Historical:
Susan Crile (1942-) is a painter from New York, New York.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 30 min.
Provenance:
These interviews are 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 others.
Restrictions:
Use requires an appointment.
ACCESS RESTRICTED; written permission required.
Topic:
Painters -- New York (State) -- Interviews  Search this
Women artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.crile72
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-crile72

Lafayette -- Private Garden

Sculptor:
Pepper, Beverly  Search this
Smith, Tony, 1912-1980  Search this
Bufano, Beniamino, 1898-1970  Search this
Shapiro, Joel  Search this
Chadwick, Lynn, 1914-  Search this
Landscape architect:
Eckbo, Garrett  Search this
Lutsko, Ron  Search this
Lutsko Associates  Search this
Garden designer:
Green, Isabella  Search this
Provenance:
Orinda Garden Club  Search this
Orinda Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Private Garden (Lafayette, California)
United States of America -- California -- Contra Costa County -- Lafayette
Scope and Contents:
The folder includes a work sheet, narrative descriptions of slides, and copy of landscape plan.
General:
Designed in 1992, the garden incorporates water features, modern sculpture, and native plants. Water is essential to this garden, bringing a feeling of freshness, renewal and tranquility. Plants noted for their fragrance surround each doorway. The garden design is inspired from the owner's travels to England and the Alhambra in Spain. The plant material in the garden features native plants and other species that have naturalized in the area.
Persons and organizations associated with the property: Edith Garrett (former owner); Ron Lutsko (landscape architect); Garrett Eckbo (landscape architect); Joel Shapiro (sculptor, "Walking on Water"); Beniamino Bufano (sculptor, "Hedge Hog"); Beverly Pepper (front door, 1992, falling water wall); Deborah Butterfield (sculptor, horse); Isabella Green (garden designer, vegetable garden and water rill design); Kei Davis (sculptor); and Tony Smith (sculptor, black geometric sculpture in entry courtyard).
Related Materials:
Private Garden related holdings consist of 1 folder (10 35 mm. slides)
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- California -- Lafayette  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File CA446
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California
Archival Repository:
Archives of American Gardens
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