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Woman's Building records

Creator:: Woman's Building (Los Angeles, Calif.) Search this

Names:: Feminist Studio Workshop Search this; Women's Graphic Center (Los Angeles, Calif.) Search this; Chicago, Judy, 1939- Search this; De Bretteville, Sheila Levrant Search this; Raven, Arlene Search this

Extent:: 32.5 Linear feet

Type:: Collection descriptions; Archival materials; Slides; Artists' books

Date:: 1970-1992

Summary:: The records of the Woman's Building feminist arts organization in Los Angeles measure 32.5 linear feet and date from 1970-1992. Originally founded by artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven in 1973, the Woman's Building served as an education center and public gallery space for women artists in southern California. The records document both the educational and exhibition activities and consist of administrative records, financial and legal records, publications, curriculum files, exhibition files, grant funding records and artist's works of arts and prints. A significant portion of the collection documents the Women's Graphic Center, a typesetting, design, and printing service operated by The Woman's Building.

Scope and Content Note:: The records of the Woman's Building measure 32.5 linear feet and date from 1970 to 1992. The organization played a key role as an alternative space for women artists energized by the feminist movement in the 1970s. The records document the ways in which feminist theory shaped the Building's founding core mission and goals. During its eighteen year history, the Building served as an education center and a public gallery space for women artists in Los Angeles and southern California; the records reflect both functions of the Building's activities.

The Administrative Files series documents the daily operations of the Building, with particular emphasis on management policies, budget planning, history, cooperative relationships with outside art organizations and galleries, special building-wide programs, and relocation planning. Included in this series are the complete minutes from most Building committees from 1974 through closing, including the Board of Directors and the Advisory Council. The General Publicity and Outreach series is particularly complete, containing publicity notices from most events, exhibits, and programs held at the Woman's Building, including brochures, announcements, programs, invitations, press releases, newspaper clippings, and magazine articles.

The Woman's Building's educational programs centered on courses offered by the Feminist Studio Workshop and the Extension Program. While the Workshop provided a two-year program for women interested in fully developing their artistic talent, the Extension Program offered a broad range of classes, specifically oriented to working women interested in art and art vocations. The records fully document both programs, focusing on the course development and descriptions, teacher contracts, class evaluations, budget planning, and scholarship programs. Although the Archives does not have the entire slide library, there are files concerning the establishment and administration of the library, as well as a few folders of slides.

The Gallery Programs series houses the records of the visual, performing, literary and video arts events held at the Woman's Building. Administrative files detail the daily operation of the gallery spaces. The files in the remaining subseries are primarily arranged by event and contain proposals, announcements, publicity, and artist biographies.

The Women's Graphic Center became a profit-making arm of the Woman's Building in 1981 but the typesetting and design equipment had been used by staff and students since 1975. The records in this series focus on the work produced at the Center, including general projects and artist designs and art prints. Many of the design and printing examples were produced for Woman's Building events and programs.

The Artist's Works of Art series includes artist books, resumes, correspondence, postcards, and samples of art in the form of sketches, drawings, and prints. There is also material related to Woman's Building projects. Especially noteworthy is the "What is Feminist Art?" project where artists gave their responses in various formats and mediums from text to pieces of artwork.

Arrangement:: The collection is arranged into 6 series.

Series 1: Administrative Files, circa 1970-1991 (Box 1-9, 32; 9 linear feet)

Series 2: Educational Programs, 1971-1991 (Box 10-14; 4.9 linear feet)

Series 3: Gallery Programs, 1973-1991 (Box 14-20, OV 54; 5.7 linear feet)

Series 4: Women's Graphic Center, circa 1976-1989 (Box 20-23, 32, OV 33-50; 5.6 linear feet)

Series 5: Artists' Works of Art, circa 1972-1990 (Box 24-25, OV 51-53; 1.7 linear feet)

Series 6: Grants, 1974-1992 (Box 25-30; 5.3 linear feet)

Historical Note:: In 1973, artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven founded the Feminist Studio Workshop (FSW), one of the first independent schools for women artists. The founders established the workshop as a non-profit alternative education center committed to developing art based on women's experiences. The FSW focused not only on the development of art skills, but also on the development of women's experiences and the incorporation of those experiences into their artwork. Central to this vision was the idea that art should not be separated from other activities related to the developing women's movement. In November of 1973 the founders rented workshop space in a vacated building in downtown Los Angeles and called it The Woman's Building, taking the name from the structure created for the 1893 World's Columbian Exposition in Chicago. The FSW shared space with other organizations and enterprises including several performance groups, Womanspace Gallery, Sisterhood Bookstore, the National Organization of Women, and the Women's Liberation Union.

When the building they were renting was sold in 1975, the FSW and a few other tenants moved to a three-story brick structure, originally designed to be the administrative offices of the Standard Oil Company in the 1920s. In the 1940s, it had been converted into a warehouse and consisted of three floors of open space, conducive to publically available extension classes and exhibitions offered by the Woman's Building staff and students. By 1977, the majority of the outside tenants had left the Woman's Building, primarily because they were unable to sustain business in the new location. The new building was more expensive to maintain and the FSW staff decided to hire an administrator and to create a board structure to assume the financial, legal, and administrative responsibility for the Building. The funds to operate came from FSW tuition, memberships, fund-raising events, and grant monies.

In 1981, the Feminist Studio Workshop closed, as the demand for alternative education diminished. The education programs of the Building were restructured to better accommodate the needs of working women. The Woman's Building also began to generate its own artistic programming with outside artists, including visual arts exhibits, performance art, readings, and video productions. That same year, the Woman's Building founded the Women's Graphic Center Typesetting and Design, a profit-making enterprises designed to strengthen its financial base. Income generated from the phototypesetting, design, production, and printing services was used to support the educational and art making activities of the Building.

When the graphics business closed in 1988, the Woman's Building suffered a financial crisis from which it never fully recovered. The Building closed its gallery and performance space in 1991.

Related Material:: Among the other resources relating to the Woman's Building in the Archives of American Art is an oral history with Suzanne Lacy on March 16, 1990, March 24, 1990, and September 24, 1990. While not credited as a founding member, Lacy was among the first group of staff of the Woman's Building which she discusses in her interview.

The Getty Research Institute also holds a large collection on the Woman's Building which includes a wide range of material relating to its exhibitions, activities, and projects.

Separated Material:: The Archives of American Art donated 5 boxes of video tape from the collection to the Long Beach Museum of Art, Video Annex in 1994. According to documentation, this was the desire of Sandra Golvin and the Board of Directors of the Woman's Building. Printed material collected but not produced by the Woman's Building regarding feminism was transfered to Smithsonian Institution Libraries.

Provenance:: The Woman's Building records were donated to the Archives of American Art in 1991 by Sandra Golvin, President of the Board of Directors. An small addition of a set of "Cross Pollination" posters was donated in 2019 by by ONE Archives at University of Southern California Libraries via Loni Shibuyama, Archives Librarian.

Topic:: Works of art Search this; Art -- Study and teaching -- California -- Los Angeles Search this; Women artists Search this; Feminism and art Search this

Function:: Nonprofit organizations -- California; Arts organizations -- California

Genre/Form:: Slides; Artists' books

Citation:: Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.

Sponsor:: Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.

Identifier:: AAA.womabuil

See more items in:: Woman's Building records

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw938796dfe-5dbf-49e9-96e7-5a8745391f13

EDAN-URL:: ead_collection:sova-aaa-womabuil

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Malaya Shadow Theater - Exhibition information, 1962-1967.

Collection Creator:: Knez, Eugene I. (Eugene Irving), 1916-2010 Search this

Container:: Box 42

Type:: Archival materials

Scope and Contents note:: Includes correspondence, sketches of the exhibition layout, negatives and photographs of theater performers in Malaysia, and a brochure of the special event, "The National Shadow Theatre of Malaysia," National Museum of Natural History, 1974.

Collection Restrictions:: The Eugene Irving Knez papers are open for research.

Access to the Eugene Irving Knez papers requires an appointment.

Collection Rights:: Contact the repository for terms of use.

Collection Citation:: Eugene Irving Knez papers, National Anthropological Archives, Smithsonian Institution

See more items in:: Eugene Irving Knez papers; Eugene Irving Knez papers / Series 4: EXHIBITIONS / HALL 8:

Archival Repository:: National Anthropological Archives

GUID:: https://n2t.net/ark:/65665/nw3b4441efb-28a2-433c-b6da-c6d8417850bf

EDAN-URL:: ead_component:sova-naa-1980-22-ref689

American Academy in Rome records

Creator:: American Academy in Rome Search this

Names:: American Academy in Rome Search this; American School of Architecture in Rome Search this; American School of Classical Studies in Rome Search this; Aldrich, Chester Holmes, 1871-1940 Search this; Boring, William, 1859-1937 Search this; Breck, George, 1863-1920 Search this; Dinsmoor, William B. Search this; Egbert, J. C. (James Chidester), 1859-1948 Search this; Ely, Theo. N. Search this; Faulkner, Barry, 1881-1966 Search this; Guernsey, Roscoe Search this; Hewlett, James Monroe Search this; Kendall, William M. Search this; La Farge, C. Grant (Christopher Grant), 1862-1938 Search this; Marquand, Allan, 1853-1924 Search this; McKim, Charles Follen, 1847-1909 Search this; Mead, William Rutherford, 1846-1928 Search this; Millet, Francis Davis, 1846-1912 Search this; Morey, Charles Rufus, 1877-1955 Search this; Mowbray, H. Siddons (Harry Siddons), 1858-1928 Search this; Platt, Charles A. (Charles Adams), 1861-1933 Search this; Pope, John Russell, 1874-1937 Search this; Roberts, Laurance P. Search this; Smith, James Kellum, 1893-1963 Search this; Stevens, Gorham Phillips, 1876- Search this; Vedder, Elihu, 1836-1923 Search this; Vitale, Ferrucio, 1875-1933 Search this; Ward, John Quincy Adams, 1830-1910 Search this

Extent:: 65.9 Linear feet

Type:: Collection descriptions; Archival materials; Photographs

Date:: 1855-2012

Summary:: The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Scope and Content Note:: The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Items predating the 1894 founding of the American School of Architecture in Rome are personal papers and memorabilia of individuals associated with the institution.

Series 1: Predecessor Institutions, is composed of the records of the American School of Architecture in Rome, 1894-1898, and the American School of Classical Studies in Rome, 1895-1913. Records of the American School of Architecture in Rome include records of its Managing Committee, correspondence, financial records, and printed matter. Among the Managing Committee's records are notes and correspondence relative to the founding of the institution, minute books and reports; also, legal documents including records concerning its dissolution prior to being reorganized as the American Academy in Rome. Correspondence is mostly that of Vice President Charles F. McKim who handled administrative matters. Financial records include capital stock certificates, invoices and receipts. Printed matter consists of scholarship competition announcements.

Records of the American School of Classical Studies in Rome include records of its Managing Committee, Committee on Fellowships, publications, printed matter, and treasurers' records. The Managing Committee's records consist of the proposed resolution concerning its merger with the American Academy in Rome. Committee on Fellowship records are comprised of correspondence, reports, and fellowship applications. Publications records include correspondence and invoices. Printed matter includes general information, annual reports of the Managing Committee and Director, annual reports of the Committee on Medieval and Renaissance Studies, fellowship applications and examination questions, and the proposed consolidation agreement. Treasurers' records include the files of Alex. Bell and Willard V. King. Bell's sparse records consist of a budget, receipts for salary payments, an invoice, canceled checks, and correspondence. King's files, while more substantial than those that survive from Bell's tenure, are quite incomplete. They include correspondence, banking records, budgets and financial statements, investment records, invoices, and receipts for salaries and expenses.

Series 2: Board of Trustees Records, is comprised of legal documents, minutes, and reports; records of Trustee committees; records of officers; and records of individual Trustees. Legal documents, 1897-1926 and undated, consist of by-laws and amendments, certificate of incorporation, and constitution and amendments. Minutes and reports of the Board of Trustees, 1897-1947 and 1957, including those of its annual meetings, are carbon copies rather than the official minute books, and are incomplete. Reports of officers are incomplete, as well. Also included are reports of Officers'/Trustees' visits to Rome, and reports of the Director and Secretary in Rome submitted to the Board of Trustees.

Records of Trustee committees, 1905-1946 and undated, consist of reports and/or minutes arranged alphabetically by committee; these, too are incomplete, with many committees represented by a single report. Committees represented are: Building Committee, Carter Memorial Committee, Endowment Committee, Executive Committee, Finance Committee, Library Committee, McKim Memorial Committee, Nominating Committee, Committee on Publications. Committee on the School of Classical Studies records consist of its own minutes and reports, reports of its Advisory Council and the Jury on Classical Fellowships. Committee on the School of Classical Studies also include reports of officers and staff of the School of Classical Studies to the Committee on the School of Classical Studies as follows: Director, Professor in Charge, Annual Professor, Director of the Summer Session, Professor of Archaeology, Curator of the Museum, Editor, Librarian, and Committee on the Welfare of Women Students. Committee on the School of Fine Arts records consist of its own minutes and reports, reports of its Special Committee on the Plan and Expense of a Department of Music in the School of Fine Arts, and report of Fine Arts Program, Triptych Project with the Citizens Committee for the Army and Navy, Inc.; also, reports of officers and staff of the School of Fine Arts to the Committee on the School of Fine Arts as follows: Director, Professor in Charge, Associate in Charge, Annual Professor, Professor in Charge of the Department of Musical Composition. In addition, there are minutes and/or reports of the Committee of Twelve and Subcommittee of Five and the Special Committee on Villa Aurelia.

Records of Officers. 1898-1957 and undated, consist mainly of correspondence files and reports, with large numbers of transcriptions and carbon copies. Included are records of: Presidents Charles F. McKim, William R. Mead, Charles A. Platt, John Russell Pope, and James Kellum Smith; Vice Presidents Theodore N. Ely, George B. McClellan, and Henry James; Secretaries H. Siddons Mowbray (Secretary/Treasurer), Frank D. Millet, C. Grant La Farge, William B. Dinsmoor, and H. Richardson Pratt; and Treasurers William R. Mead, William A. Boring, Leon Fraser, and Lindsay Bradford Office files of President Mead, Secretaries Millet and La Farge, and Treasurer Boring are the most complete; files of other individuals, the Vice Presidents in particular, are often quite sparse.

Records of individual Trustees, 1902-1946 and undated, consist of material relating to official Academy business that was created or maintained by each in his capacity as trustee. (Note: many of these individuals also served as officers or staff of the Academy, and their records documenting those functions will be found in the appropriate series.) Included in this subseries are the records of: Chester H. Aldrich, Gilmore D. Clarke, James C. Egbert, Barry Faulkner, Allan C. Johnson, William M. Kendall, C. Grant La Farge, Edward P. Mellon, Charles Dyer Norton, Charles A. Platt, John Russell Pope, Edward K. Rand, John C. Rolfe, James Kellum Smith, S. Breck Trowbridge, Ferruccio Vitale, John Quincy Adams Ward, Andrew F. West, and William L. Westerman. These records tend to be sparse; files maintained by James C. Egbert, Barry Faulkner, Allan C. Johnson, and Ferruccio Vitale are notable exceptions.

Series 3: New York Office Records, consists of records of staff, rosters, printed matter, photographs, personal papers, Association of Alumni of the American Academy in Rome, and miscellaneous records.

Records of staff, 1919-1950 and undated, include the office files of Executive Secretaries Roscoe Guersney, Meriwether Stuart, and Mary T. Williams; Librarian George K. Boyce; and Endowment Fund Campaign Secretaries Phillilps B. Robinson and Edgar I. Williams.

The rosters, 1895-1939 and undated, are printed forms completed by fellows and students, with occasional attachments (usually correspondence or photographs). Included are the rosters of the School of Fine Arts, School of Classical Studies, and School of Classical Studies Summer Sessions.

Printed matter, 1905-[1981?] and undated, has been classified as Academy produced and produced by others. Items produced by the Academy, 1905-[1981?], include general information including act of incorporation and by-laws, fundraising brochure, constitution, Directory of Fellows and Residents, histories of the institution, newsletter of the Director, and printed items relating to special events. Printed matter specifically relating to the School of Classical Studies includes annual announcements, the consolidation agreement, a directory, fellowship announcements and applications, lecture announcements, newsletters, and brochures about summer sessions. School of Fine Arts printed matter includes annual announcements, concert programs, exhibition checklists and catalogs, fellowship announcements and application forms, history, and newsletters.

Printed matter produced by others, 1905-1940 and undated, consists of three scrapbooks of news clippings and photographs compiled by the American Academy in Rome, extensive clipping files, and articles from miscellaneous publications. All of these items are about the American Academy in Rome, or by or about individuals associated with the institution. Also included is a poster for Leave Courses offered at the Academy for U. S. servicemen.

Photographs, 1891-1941 and undated, are organized into the categories of works of art, people, buildings, places, events, and miscellaneous. Works of art are by visiting students and fellows, Frank D. Millet, collaborative problems, Rome Prize Competitions in Architecture, Rome Prize Competitions in Landscape Architecture, and Prix de Rome Competition exhibitions. Photographs of people are both of individuals and groups; among the groups are summer school students and fellowship winners.

Buildings depicted are American Academy properties. Among them are the "New Building," including interior and exterior construction views; studios; and Villas Aurelia, Mirafiore, and Richardson. Also included is a group of photographs of Academy architecture students measuring buildings in Rome and Florence. Places pictured are views of the Academy property and surrounding areas.

Photographs of events include cricket games, Thanksgiving and Fourth of July dinners, Architectural League exhibition, and inauguration of the Manship Fountain. Miscellaneous photographs are of an architectural drawing for a proposed building.

Personal Papers, Memorabilia, and Ephemera, 1855-1923 an undated, were donated to the American Academy in Rome or otherwise left on its premises. None are official records generated by the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.

Records of the Association of the Alumni of the American Academy in Rome, 1913-1945 and undated), consist of a small number of scattered records including correspondence, fellows' war/government service information (compiled by Sidney Waugh), membership lists, and a newsletter.

Miscellaneous records, 1899-1926 and undated, are writings and architectural records. Writings consist of published and unpublished manuscript material about the American Academy in Rome and its history, and article by H. Siddons Mowbray advising on ornamentation, and text and illustrations for the Art and Archaeology issue on the Academy. Also included are fragments of unidentified letters. Architectural records [oversize] include property and floor plans of Villas Aurora, Chiaraviglio, Ferrari, and Ludovisi.

Series 4: Rome Office Records, consist of records of staff and personal papers. Records of staff, 1903-1947 and undated, include the office files of Directors H. Siddons Mowbray, George Breck, Jesse Benedict Carter, Gorham Phillips Stevens, James Monroe Hewlett, Chester H. Aldrich, Amey Aldrich [Acting Director, very briefly, perhaps unofficially], Charles R. Morey, and Laurance P. Roberts; and records of two members of the School of Fine Arts faculty, Frank P. Fairbanks, Professor of Fine Arts, and Felix Lamond, Professor of Music. Records of Carter, Stevens, Hewlett, and Aldrich appear to be fairly complete; records of early directors are sparse; those of Morey and Roberts appear to be missing significant portions; and those of Professors Fairbanks and Lamond consist of a few scattered items.

Also surviving are the personal papers of Director Gorham Phillips Stevens, 1912-1931 and undated), consisting of correspondence, financial records, and documentation of professional and charitable activities.

Series 5: Unprocessed Addition to the American Academy in Rome Records was received in 2014 and consists of 31.6 linear feet of the New York office's records for officers, directors, and executives.

Arrangement:: It was obvious that before they came to the Archives of American Art the records had been rearranged more than once, and in such a way that materials from many different departments had been intermingled. In keeping with archival theory and practice, the records were organized to reflect the structure and operation of the institution that created the records, making them more understandable and accessible to a wide variety of researchers.

In general, the records of each officer and staff member are arranged alphabetically, with general correspondence preceding the alphabetical sequence; arrangement within each file is chronological, unless noted otherwise.

Records of the American Academy in Rome are organized into five major series. Each series, except series 5, is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Predecessor Institutions, 1894-1913 (box 1; 0.88 linear ft.; Reels 5749-5750)

Series 2: Board of Trustees Records, 1897-1957, undated (boxes 1-17, 35, 37; 15.25 linear ft.; Reels 5750-5777)

Series 3: New York Office, 1855-circa 1981, undated (boxes 17-32, 36; 15 linear ft.; 5777-5795)

Series 4: Rome Office, 1903-1943, undated (boxes 32-34; 3 linear ft.; 5795-5800)

Series 5: Unprocessed Addition to the American Academy in Rome Records, 1933-2002 (boxes 35-103; 31.6 linear ft.)

Historical Note:: While in Chicago to advise and work on the fine arts section of the 1893 World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, and Richard Howland Hunt, painters John La Farge and Frank Millet, and sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly. From their collaborative experience and discussions came the idea for an American school for artists in Europe. Charles F. McKim was especially enthusiastic. He strongly believed that collaborative experience should be available to future American artists, and perceived a real need for an American school in Europe--preferably in Rome, the very best place to study art, in his opinion.

By March of the following year, McKim was busy devising plans for the school and persuading like-minded architects and artists to assist. He proposed to finance the school by convincing institutions with traveling scholarships in the arts to send those students to Rome. Columbia University, University of Pennsylvania, and the Rotch Scholarship fund readily agreed to the scheme, and in ensuing years many others followed suit. In October, 1894, the American School of Architecture in Rome opened temporary quarters in the Palazzo Torlonia. The school consisted of its Director, Austin Lord, three fellows, and a visiting student; its "library" contained but one volume.

A move to the larger, more suitable Villa Aurora occurred in July 1895. Rent from two subtenants (the newly established American School of Classical Studies in Rome and the British and American Archaeological Society Library in Rome), along with a personal contribution from McKim, made this financially feasible.

The American School of Architecture in Rome was incorporated in the State of New York, 1895, and 10 shares of capital stock were issued. Despite substantial fundraising efforts in Chicago, New York, and Boston, severe financial problems continued. The American School of Classical Studies in Rome vacated the Villa Aurora in 1896--and with it went a sizeable portion of the School of Architecture's income. McKim frequently made up the deficit from his own pocket.

Eventually, it was decided that the American School of Architecture in Rome must be reorganized along the lines of the French Academy and that national sponsorship needed to be obtained through an act of Congress. In June of 1897, the American School of Architecture in Rome voted to dissolve itself and create the American Academy in Rome. The new institution would assume all assets and obligations, fellowships in painting and architecture were to be added to the program, and its Board of Trustees would include architects and artists. The Academy is not a school. Its fellows and visiting students, already professionally trained, go to Rome for further development and for collaboration and association with others. In the words of Director Gorham Phillips Stevens: "The object of the American Academy in Rome is not to afford opportunities for a few individuals to perfect themselves for the practice of their chosen professions. The ideal is to create an atmosphere in which a limited number of carefully selected artists and scholars may develop that synthesis of intellectual culture which will make them worthy to preserve and continue the great traditions of the past in order that the standard of art and literature may be handed on from year to year, constantly strengthened and improved."

Beginning in 1901, bills to make the American Academy in Rome a "national institution" were introduced in Congress on several occasions. A hearing was finally scheduled in 1905, and a revised bill that prohibited government funding and specified that U.S. officials may not be Trustees was signed into law. Serious efforts to create an Endowment Fund and secure better quarters were associated with the movement to obtain status as a national institution. The Academy was successful in meeting all of these objectives. In 1904, the Academy moved to the Villa Mirafiore (also known as Villa Mirafiori), which it soon purchased and renovated. The Endowment Fund raised well over a million dollars. Donors of $100,000 to the Endowment Fund, designated "Founders" of the American Academy in Rome, were: The Carnegie Foundation, Henry C. Frick, Harvard College, Charles F. McKim, J. P. Morgan, Sr., J. P. Morgan, Jr., The Rockefeller Foundation, John D. Rockefeller, Jr., William K. Vanderbilt, and Henry Walters. Other categories of donors were "Incorporators" (a new Act of Incorporation was required at the time the American Academy in Rome was chartered as a national institution) and "Life Members."

The American School of Classical Studies in Rome, which had been established by the Archaeological Society in 1895 and during its first year shared the Villa Aurora with the American School of Architecture in Rome, entered into a consolidation agreement with the American Academy in Rome in 1911. Their merger went into effect on the last day of 1912, and ever since, the American Academy in Rome has consisted of the School of Fine Arts and the School of Classical Studies, administered by a common director. The School of Classical Studies is composed of fellows and visiting scholars who are graduate students, secondary teachers, or professors engaged in research in the areas of archaeology, ancient art, philology, and humanistic studies. Women were a part of the School of Classical Studies from its beginning, but were not permitted to participate in the School of Fine Arts until well after World War II. Beginning in 1923, the School of Classical Studies instituted Summer Sessions which appealed to secondary teachers, and attracted an enrollment that was largely female.

Originally, the School of Fine Arts offered fellowships in architecture, painting, and sculpture. Fellowships in landscape architecture were added in 1915; in 1920, a Department of Music was established, and along with it fellowships in musical composition. Fellowships in art history were established in 1947. Unmarried men under age 30 were eligible to compete for the fine arts fellowships awarded annually (except for landscape architecture, awarded every third year); the duration of fellowships ranged from one to three years at various points in the institution's history. In residence along with fellows of the American Academy in Rome, might be holders of various traveling scholarships: the McKim Fellowship, the Columbia Traveling Scholarship, the Perkins Scholarship, the Robinson Traveling Scholarship (Harvard), the Rotch Scholarship, the Julia Appleton Scholarship, the Traveling Scholarship and Stewardson Memorial Scholarship (University of Pennsylvania), the Cresson Scholarship (Pennsylvania Academy of the Fine Arts), the Drexel Institute Traveling Scholarship, the Lazarus Scholarship (Metropolitan Museum of Art), the Lowell Scholarship (Massachusetts Institute of Technology), and the Rinehart Scholarship (Peabody Institute, Baltimore). Visiting students, who remained for a much briefer period than fellows or recipients of various traveling scholarships, were admitted to all lectures and granted use the library, but resided elsewhere. The Academy opened an Atelier in downtown Rome for visiting students in 1927, which operated until financial considerations forced its discontinuation seven years later.

As the merger was being planned, J. P. Morgan, Sr., who was interested in both the American Academy in Rome and the American School of Classical Studies in Rome, began buying properties on the Janiculum, adjacent to Villa Aureilia. Villa Aurelia, built on the summit of the Janiculum in 1650, had been bequeathed to the American Academy in Rome in 1909 by Clara Jessup Heyland. Complications surrounding the gift of Villa Aurelia--including the will being contested by Mrs. Heyland's brother, and problems with unsettled tax assessments--were overcome in the interest of acquiring the outstanding building and its extensive grounds. Not long before his death in 1913, Morgan donated his neighboring land, and the American Academy in Rome continued to expand its Janiculum holdings through purchases and gifts from others. Morgan also agreed to provide a loan for construction of a new building. This building, designed by McKim, Mead, and White and known as the Main Building or Academy Building, opened in 1915; it served as the fellows' residence and work area, and included room for the library, offices, and space for exhibitions and other public events.

During World War I, the American Academy in Rome managed to remain open, although no new fellows arrived during the war years and the number of resident fellows and staff dwindled considerably. Most who remained were involved in some type of civilian war work, often with the Red Cross. In fact, Villa Aurelia was rented by the Red Cross in Italy for office space, and the Main Building was offered as a convalescent hospital, but the war ended before it could be put to that use.

After Italy declared war on the United States in 1941, the American Academy in Rome closed for the remainder of World War II. Those who had been awarded fellowships in classics just prior to the Academy's closing were given the option of using their stipends for study at home or waiting until conditions permitted travel to Rome. A very reduced staff stayed to care for the property and continue library cataloguing, coping with often severe wartime shortages of food and fuel. In addition, there were financial hardships. When bank accounts of enemy aliens were frozen and it was no longer possible to transfer funds from the United States, the Swiss Legation and Vatican arranged for loans to keep the Academy and its staff afloat. Funds that would have been awarded to new fellows during this period were put to use in other ways. In 1943, the American Academy in Rome made a grant to the Citizen's Committee for the Army and Navy, Inc. for competitions to award commissions to artists and art students throughout the country, funding more than 100 triptychs for chapels, as well as murals, medals, and sculpture. Seniors in American colleges and universities were eligible to compete for several scholarships for graduate work in classical studies awarded by the American Academy in Rome.

In 1945, the Academy was the site of Leave Courses on various aspects of Italian culture offered to servicemen. From the end of the war until the Academy reopened at the start of the 1946/47 academic year, G.I. Fellowships were offered to discharged soldiers wishing to study at the Academy, making the institution eligible to receive surplus equipment and rations. During this time intensive planning was underway for administrative changes and new programs.

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1893 -- While in Chicago to collaborate on the fine arts section for the World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, Richard Howland Hunt, painters John La Farge, and Sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly and from their collaborative experience and discussions came the idea for an American school in Europe.

1894 -- American School of Architecture in Rome opened in temporary quarters at the Palazzo Torlonia with Austin Lord, Director, three fellows, and a visiting student.

1895 -- Villa Aurora leased with 2 subtenants, the American School of Classical Studies and the British and American Archaeological Society Library in Rome American School of Architecture incorporated and 10 shares of capital stock issued (2 each to McKim and Hunt, and 1 to Burnham, Kendall, Schermerhorn, Boring, Garland, and Dill) McKim visits Rome.

1896 -- Metropolitan Museum of Art, administrator of Jacob H. Lazarus Scholarship for the study of mural painting, agrees to send the winner to Rome American School of Classical Studies in Rome vacates Villa Aurora.

1897 -- American School of Architecture in Rome dissolved and reorganized as the American Academy in Rome; the assets (including the lease on Villa Aurora) of the American School of Architecture in Rome were transferred and its program expanded to include fellowships in painting and sculpture Samuel A. B. Abbott appointed first Director Rome Prize discontinued (for 9 years) due to lack of funds.

1898 -- Incorporated in New York State; trustees begin to focus on raising an endowment.

1904 -- Move to Villa Mirafiore (also known as Villa Mirafiori); occupied until 1914.

1905 -- Chartered by the Congress of the United States; a bill signed by President Roosevelt made the American Academy in Rome a national institution (receiving no government funding and barring U.S. officials from acting as Trustees).

1906 -- Purchase of Villa Mirafiore finalized; renovations begun.

1909 -- Villa Aurelia bequeathed to the Academy by Clara Jessup Heyland (used until 1932); there were protracted problems surrounding the acquisition of the property including a brother who contested the will and unsettled taxes.

1911 -- School of Classical Studies in Rome (established by the Archaeological Institute of America in 1895) and the American Academy in Rome announce their consolidation [the merger became effective on the final day of 1912].

1912 -- Lands on the Janiculum adjacent to Villa Aurelia, recently acquired by J. Pierpont Morgan, Sr., transferred to the American Academy in Rome.

1913 -- American Academy in Rome now consists of the School of Fine Arts and the School of Classical Studies. New York office moves to the Architect's Building, 101 Park Ave., remaining at this location until 1973. By this date, largely through the generosity of J. Pierpont Morgan, Sr., nearly all of the land bounded by Via Angelo Masina, Via Giacomo Medici, Via Pietro Riselli, and the Aurelian Wall on the Janiculum had been purchased and many improvements made to the properties near the Villa Aurelia. Construction begins on the new Academy building designed by McKim, Mead, and White and situated on the grounds of Villa Aurelia; financed through a loan from J. Pierpont Morgan, Sr. (after Morgan Sr.'s death, his son offered to cancel the loan at an amount equal to funds raised by the Academy for the purpose).

1915 -- First Fellowship in Landscape Architecture established; opening of new Academy building housing the fellows' residential quarters, work areas, library, offices, and spaces for public programs.

1917 -- Villa Aurelia rented to the Red Cross for office space, and the new Main building was slated to become a convalescent hospital, but the war ended before it could be put to use.

1919 -- New York office reorganized by Roscoe Guernsey, executive secretary; sale of Villa Mirafiore; Academic Council established in Rome.

1920 -- Department of Music and Fellowship in Musical Composition established.

1923 -- School of Classical Studies establishes summer sessions, largely attended by teachers.

1926 -- Second Fellowship in Landscape Architecture funded by Garden Club of America (later permanently endowed).

1927 -- Academy opens an Atelier in downtown Rome, providing studios for visiting students (operated until 1934).

1929 -- First Thomas Spencer Jerome lecturer appointed.

1941 -- Academy closes for duration of World War II; a skeletal staff remain behind to care for the property and continue library cataloguing; Italy declares war on the United States.

1942 -- After transfer of funds from the U.S. proved impossible and enemy aliens were prohibited from withdrawing their own funds from Italian banks, the Swiss Legation and Vatican offered assistance to the Academy by providing loans.

1943 -- Academy grant to Citizen's Committee for the Army and Navy, Inc., funded hundreds of triptychs; murals, medals, and sculptures also commissioned Academy awards scholarships in classical studies at American colleges and universities.

1945 -- "Leave courses," held at the Academy, consisting mainly of lectures by distinguished scholars still in Rome, instituted for U.S. servicemen.

1946 -- Regular program resumes at the start of the academic year.

1947 -- Fellowship in the History of Art established.

1965 -- Loan of printed matter for microfilming by the Archives of American Art (reels ITRO 2-3 and 11-13).

1973 -- New York office moves to American Federation of Arts building, 41 East 65th St. (until 1993).

1982 -- Gift of New York office records to the Archives of American Art.

1990 -- Gift of Rome office records to the Archives of American Art.

1993 -- New York office moves to Metropolitan Club, 7 East 60th St.

Related Material:: Papers of a number of former fellows, trustees, and other individuals associated with the American Academy in Rome are among the holdings of the Archives of American Art.

Chaloner Prize Foundation records, 1915-1974 (microfilm reels 5664-5669) were received with the American Academy in Rome records. They have been arranged and described as a separate collection.

Valentine, Lucia and Alan Valentine. The American Academy in Rome, 1894-1969. Charlottesville: University Press of Virginia, 1973.

Separated Material:: The Archives of American Art also holds microfilm of material lent for microfilming (reels ITRO 2-3, and ITRO 11-13) including annual reports, exhibition catalogues, a history of the American Academy in Rome, the American Academy in Rome at the World's Fair, and the Golden Gate Exposition and newsletter. Loaned materials were returned to the lender and can be found at the American Academy in Rome, Italy. This material is not described in the collection container inventory.

Provenance:: The material on reels ITRO 2-3 and ITRO 11-13 were lent to the Archives of American Art for microfilming by the American Academy in Rome in 1965. Records of predecessor institutions, the Board of Trustees, and the New York office, including photographs and personal papers, were donated in 1982 by the Academy president, Calvin G. Rand. In 1990, Rand also gifted the Rome office records and the personal documents of Gorham Phillips Stevens. An addition of New York office records was donated in 2014 by the Academy director, Adele Chatfield-Taylor.

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.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:: Architecture -- Study and teaching Search this; Architecture, Classical -- Study and teaching Search this; Art -- Study and teaching Search this; Art schools -- Italy -- Rome Search this

Genre/Form:: Photographs

Citation:: American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.

Identifier:: AAA.ameracar

See more items in:: American Academy in Rome records

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw9eb425e5a-26de-478b-8ecc-8a9006e9dc52

EDAN-URL:: ead_collection:sova-aaa-ameracar

Online Media:

Nashville -- The Mr. and Mrs. Walter M. Robinson Jr. Garden

Architect:: Asmus, Christian A. Search this; Clark, Richard R. Search this

Landscape architect:: Page, Ben Search this

Provenance:: Garden Club of Nashville Search this; Garden Club of Lookout Mountain Search this

Collection Creator:: Garden Club of America Search this

Type:: Archival materials

Place:: The Mr. and Mrs. Walter M. Robinson Jr. Garden (Nashville, Tennessee); United States of America -- Tennessee -- Davidson -- Nashville

Scope and Contents:: The folder includes worksheets, photocopies of articles and other information.

General:: The garden and residence of Mr. and Mrs. Walter M. Robinson represents one of the first "Country Place Era" gardens in Nashville. The Neoclassical home, designed by architects A. Christian Asmus and Richard R. Clark, was built in 1929 by F.J. McCarthy and his wife Mary Byrd McCarthy. When the current owners assumed ownership of the property in 1987, the garden areas near the house were primarily lawns surrounded by towering boxwood hedges, formal and static in design. With the desire to allow more light into the Neoclassical style house as well as to create terraces to accommodate an eight foot change in elevation and a garden room for a swimming pool, the owners turned to their sons-in-law, landscape architect Ben Page (ASLA) and architect Stephen P. Rick (AIA) to renovate the property. The four garden rooms that were designed are arranged laterally alongside and below the house with surrounding high walls and interior low walls. A pre-existing 50-foot antique wrought iron fence and a pergola built on massive piers were incorporated into the design and separate the garden rooms from the natural garden that comprises the rest of the property. The first room is a large terrace that can be tented for special events, with steps down to a more intimate sunken terrace for family use, followed by more steps to a formal parterre rose garden with a pool and fountain in the middle and pear trees espaliered against one wall, and lastly a landscaped pool and new pool house converted from a three car garage with cutting and vegetable gardens nearby. A door in the garden wall closes off the swimming area when it is out of season.; This garden features plant material and hardscape with provenance, starting with the Seven Sisters climbing roses that were transplanted from another family property in the 1930s. Peonies planted by the current owner's mother still thrive below the pool house and border the cutting and vegetable gardens. The antique wrought iron fence was salvaged from another Nashville property and bricks used for the walks once comprised East Nashville sidewalks laid in the late 1800s. A Charlie Hunt sculpture "Dove of Peace" was carved from a foundation stone salvaged from an East Nashville church, Saint Ann's Episcopal (1882-1998). Native limestone and Tennessee Crab Orchard stone are local materials used for the walls and terraces.; In early spring a row of Yoshino cherry trees blooms along one side of a brick walkway just inside the high limestone wall with tulips blooming on the other side. Pansies and tulips surround the fountain in the rose garden for early color. In summer Annabelle hydrangeas border the swimming pool, and perennial flower beds come into bloom.; The gardens on the estate provide ample opportunities for a wide variety of social, civic and charitable events. One such event was the 1993 Swan Ball Patron's Party for the benefit of Cheekwood Botanical Barden and Museum of Art. The current owner has also hosted a series of literary salons to benefit the Nashville Public Library. Numerous local non-profits have benefited from fundraisers and garden tours hosted at the estate.; Persons associated with the garden include Mr. F.J. and Mary Byrd McCarthy (former owners, 1929-1931); Mr. Edwin Wilson Craig and Elizabeth Wade Craig (former owners, 1931-1987); Christian A. Asmus and Richard R Clark (architects, 1929-1939); Ben Page, ASLA (landscape architect, 1988-1990); Stephen P. Rick (architect, 1988-1990); William Ralston (sculptor); Charlie Hunt (sculptor); Pink Ray (groundskeeper, 1931-1958); Mark Owen (groundskeeper, 1948-1971); Roy Goddard (groundskeeper, 1972-1981); Malcolm Campbell (grounds manager, 1981-1990); Norman David Pugh (grounds manager, 1990-present); Michele Webber (gardener, 2010-present).

Related Materials:: The Mr. and Mrs. Walter M. Robinson Jr. Garden related holdings consist of 1 folder (69 digital images)

Collection Restrictions:: Access to original archival materials 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:: Gardens -- Tennessee -- Nashville Search this

Collection Citation:: Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:: A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:: AAG.GCA, File TN076

See more items in:: The Garden Club of America collection; The Garden Club of America collection / Series 1: United States Garden Images / Tennessee

Archival Repository:: Archives of American Gardens

GUID:: https://n2t.net/ark:/65665/kb6a1ddf5a6-edcb-49ef-98ec-6110196bb072

EDAN-URL:: ead_component:sova-aag-gca-ref10964

Website Records

Names:: History Film Forum Search this; National Endowment for the Humanities Search this

Type:: Collection descriptions; Archival materials; Electronic records; Web sites

Place:: United States -- History

Date:: circa 2017-2020

Descriptive Entry:: This accession consists of the History Film Forum website as it existed on March 17, 2020. The History Film Forum, presented by the Smithsonian Institution and the National Endowment for the Humanities, explores history on the screen and the state of film as public history through analysis of narrative film, documentaries, television shows, and internet videos. The website, hosted by the Smithsonian Institution, provides information about the Forum and associated events. At the time of capture, the website did not appear to have been updated since late 2017 or early 2018. Materials are in electronic format.

Topic:: Web sites Search this; Museums -- Public relations Search this; Special events Search this; Historical films Search this; Motion pictures and history Search this; History in motion pictures Search this

Genre/Form:: Electronic records; Web sites

Citation:: Smithsonian Institution Archives, Accession 22-093, Smithsonian Institution, Website Records

Identifier:: Accession 22-093

See more items in:: Website Records

Archival Repository:: Smithsonian Institution Archives

EDAN-URL:: ead_collection:sova-sia-fa22-093

Arevivia Amos with Marcellus Breach--Classical/American Song

Creator:: National Museum of the American Indian Search this

Type:: YouTube Videos

Uploaded:: 2013-01-24T21:09:24.000Z

YouTube Category:: Education Search this

Topic:: Native Americans;American Indians Search this

See more by:: SmithsonianNMAI

Data Source:: National Museum of the American Indian

YouTube Channel:: SmithsonianNMAI

EDAN-URL:: edanmdm:yt_icDiOXp_Lcg

No Image Available

History Records, 1954-1999

Creator:: Hirshhorn Museum and Sculpture Garden Search this

Subject:: Hirshhorn, Joseph H Search this; Joseph H. Hirshhorn Foundation Search this; Hirshhorn Museum and Sculpture Garden Board of Trustees Search this

Physical description:: 7.52 cu. ft. unprocessed holdings

Type:: Manuscripts; Videotapes; Phonograph records; Floor plans; Black-and-white photographs; Black-and-white negatives; Architectural drawings

Date:: 1954; 1954-1999

Topic:: Art museums Search this; Museums--Administration Search this; Art, Modern Search this; Special events Search this; Museum exhibits Search this; Museums--Collection management Search this

Local number:: SIA RS01191

See more items in:: History Records 1954-1999 [Hirshhorn Museum and Sculpture Garden]

Data Source:: Smithsonian Institution Archives

EDAN-URL:: edanmdm:siris_arc_249018

David Hidalgo says Raise It Up! on June 14, 2014 with the National Museum of American History

Creator:: National Museum of American History Search this

Type:: YouTube Videos

Uploaded:: 2014-06-12T17:06:13.000Z

YouTube Category:: Education Search this

Topic:: American History Search this

See more by:: SmithsonianAmHistory

Data Source:: National Museum of American History

YouTube Channel:: SmithsonianAmHistory

EDAN-URL:: edanmdm:yt_p-k7TnGH3Fc

No Image Available

Agency history, 1990-

Creator:: Freer Gallery of Art and Arthur M. Sackler Gallery Office of Advancement Search this

Subject:: Phillips, Barbara Search this; Muro, Laurel A Search this; Glazer, Elisa Search this; Brown, Elizabeth Search this; Winterton, Patricia Search this; Kaveeshwar, Jay Search this; Willumsen, Laura Search this; Freer Gallery of Art Search this; Arthur M. Sackler Gallery (Smithsonian Institution) Search this; Freer Gallery of Art and Arthur M. Sackler Gallery Office of the Director Search this; Freer Gallery of Art and Arthur M. Sackler Gallery Office of Development Search this; Freer Gallery of Art and Arthur M. Sackler Gallery Office of Membership and Development Search this

Type:: Mixed archival materials

Date:: 1990; 1990-

Topic:: Art museums Search this; Museum finance Search this; Arts fund raising Search this

Local number:: SIA AH00343

Data Source:: Smithsonian Institution Archives

EDAN-URL:: edanmdm:siris_arc_229212

Della Mae performs "The Star-Spangled Banner"

Creator:: National Museum of American History Search this

Type:: YouTube Videos

Uploaded:: 2014-06-02T21:56:28.000Z

YouTube Category:: Education Search this

Topic:: American History Search this

See more by:: SmithsonianAmHistory

Data Source:: National Museum of American History

YouTube Channel:: SmithsonianAmHistory

EDAN-URL:: edanmdm:yt_xVdZZ-tpZUc

No Image Available

[Trade catalogs from Keystone View Co.]

Company Name:: Keystone View Co. Search this

Notes content:: Stereographs : travel tours, geographical, historical (United States and Canada), industrial series, childhood series, Bible series, famous persons, special events, hunting sets, sentimental and comic, hand painted views, miscellaneous sets and collections. Daylight lanterns (slide projectors) ; slides for schools ; stereo ophthalmic equipment ; overhead projectors ; "Periometer" for measuring lateral fields (side or tunnel vision) ; "telebinocular" ; stereoscophthalmic...this comprises the uncataloged portion.

Includes:: Trade catalog, price lists and manual; Black and white images

Physical description:: 13 pieces; 1 box

Language:: English

Type of material:: Trade catalogs; Trade literature

Place:: Meadville, Pennsylvania, United States

Date:: 1900s

Topic (Romaine term):: Educational institutions; equipment and supplies (includes playground equipment) Search this; Medical and surgical instruments and supplies Search this; Photographic equipment and supplies Search this; Scientific and optical instruments Search this

Topic:: "Schools -- Furniture, equipment, etc." Search this; Cameras Search this; Medical instruments and apparatus industry Search this; Optical instruments Search this; Photographic industry Search this; Playgrounds Search this; Scientific apparatus and instruments Search this; Surgical instruments and apparatus industry Search this

Record ID:: SILNMAHTL_23660

Location:: Trade Literature at the American History Museum Library

Collection:: Smithsonian Libraries Trade Literature Collections

Data source:: Smithsonian Libraries

EDAN-URL:: edanmdm:SILNMAHTL_23660

No Image Available

Publicity Records, 1991, 1995-2020

Creator:: Smithsonian American Art Museum Office of External Affairs and Digital Strategy Search this

Subject:: Smithsonian American Art Museum Office of External Affairs Search this; National Museum of American Art (U.S.) Office of Public Affairs Search this; Renwick Gallery Search this; The West as America: Reinterpreting Images of the Frontier, 1820-1920 (Exhibition) (1991: Washington, D.C.) Search this

Physical description:: 6 cu. ft. (6 record storage boxes)

Type:: Manuscripts; Collection descriptions

Date:: 1995; 1995-2020; 1991, 1995-2020

Topic:: Special events Search this; Art museums Search this; Publicity Search this; Museums--Public relations Search this; Museum exhibits Search this

Local number:: SIA Acc. 22-106

See more items in:: Publicity Records 1967-2020 [Smithsonian American Art Museum Office of External Affairs and Digital Strategy]

Data Source:: Smithsonian Institution Archives

EDAN-URL:: edanmdm:siris_arc_404759

Ivan C. Karp papers and OK Harris Works of Art gallery records

Creator:: Karp, Ivan C., 1926-2012 Search this; O.K. Harris Gallery (New York, N.Y.) Search this

Names:: Baeder, John Search this; Butterfield, Deborah, 1949- Search this; Castanis, Muriel, 1926-2006 Search this; Celender, Don, 1931-2005 Search this; Clarke, John Clem, 1937- Search this; De Andrea, John, 1941- Search this; Dufresne, Leonard, 1941- Search this; Goings, Ralph Search this; Grinder, Robert Search this; Hanson, Duane Search this; Kacere, John C., 1920-1999 Search this; Karp, Marilynn Gelfman Search this; McLean, Richard Thorpe, 1934- Search this; Rohm, Robert Search this; Salt, John, 1937- Search this; Wesselmann, Tom, 1931-2004 Search this

Extent:: 80.3 Linear feet

Type:: Collection descriptions; Archival materials; Photographs; Prints; Diaries

Date:: 1960-2014

Summary:: The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artist files, printed material and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Aso included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Scope and Contents:: The Ivan C. Karp papers and OK Harris Works of Art gallery records measure 80.3 linear feet and are dated 1960-2014. The collection documents the operation and activities of the contemporary art gallery founded by Ivan C. Karp in the SoHo area of Manhattan. Exhibition files, artists' files, printed material, and photographic materials reveal the wide range of artists represented by OK Harris and the gallery's role in introducing Photo-realism to the public. Also included are administrative files, prints by OK Harris artists, business and personal correspondence, 39 journals by Karp spanning a period of 62 years, and other personal papers. Material pre-dating the 1969 establishment of OK Harris Works of Art consists of printed items and a few letters.

Correspondence, both professional and personal, is with museums, galleries, art dealers, art collectors, and graduate students. Artists John Baeder, Deborah Butterfield, John Clem Clarke, John DeAndrea, Jim Dine, Leonard Dufresne, Robert Ginder, Ralph Goings, Duane Hanson, Richard McLean and Tom Wesselmann are among the correspondents.

Admininstrative files concern the daily operation of OK Harris Works of Art. Included are instructions regarding administrative functions and forms for routine activities to enable employees to conduct business in Ivan Karp's absence. Along with files about other items occasionally sold at the gallery, there are files about projects of interest to the Karps, sample announcements, invitations, and advertisements.

Exhibition files document group shows, collectibles and antique exhibitions, summer invitationals, and special event exhibitions at OK Harris Works of Art. The files include photographs and slides, schedules, lists of titles and prices, artists' resumes, installation layouts, reviews and publicity materials, and other items.

Artist files constitute the largest series in the collection at 34 linear feet, and document the gallery's relationships with artists throughout its 45 year history. Files are comprised of biographical information, correspondence, notes, publicity and other printed material (including a few items pre-dating the gallery). Among the many transactions recorded are arrangements for and documentation of solo exhibitions at OK Harris. There are photographs, slides and color transparencies of individual works, and some views of exhibition installations. John Baeder, Muriel Castanis, Don Celender, Ralph Goings, John Kacere, Richard McLean, Robert Rohm and John Salt are among the most extensively documented artists.

Printed material produced by OK Harris Works of Art includes exhibition catalogs, exhibition announcements, invitations, checklists, price lists posters, and notices of gallery sponsored events and activities. Printed material from other sources consists of exhibition reviews, articles about Ivan and Marilynn Karp, OK Harris Works of Art, and the gallery's artists. These appeared in art and mainstream periodicals, newspapers, exhibition catalogs, and books. Also found are posters, reproductions of artwork, and miscellaneous printed items. Artwork consists of 40 prints by artists affiliated with OK Harris. Most are signed; 2 are black and white prints, the remainder are color lithographs. Included is Radical Realism I, a set of 6 prints issued by Mother Lode Editions, 1972.

Thirty-two linear feet of photographs, negatives, slides, transparencies and digital images are of artwork by OK Harris artists, exhibition installation views, and miscellaneous subjects. Photographs of artwork by 59 OK Harris artists are found in binders called "Artists' Photo Books." Installation views of exhibitions held at OK Harris Works of Art during its 45 year history fill 61 binders. Miscellaneous subjects include OK Harris office space, galleries and staff. Also found are photographs of group shows, art fairs, and gallery artists' exhibitions at other venues.

The Ivan C. Karp personal papers include obituaries from print and internet sources along with other biographical information, published versions of brief interviews conducted for various purposes, writings, a few materials relating to business and academic activities, and some personal photographs. Journals, 1950-2012 (bulk 1991-2012) record travel, daily activities, and reflections.

Arrangement:: This collection is arranged in 8 series:

Missing Title

Series 1: Correspondence, 1960-2013 (Boxes 1-2B; 2.4 linear feet)

Series 2: Administrative Files, 1969-2014 (Box 3; 0.7 linear feet)

Series 3: Exhibition Files, 1969-2014 (Boxes 3-4; 1.2 linear feet)

Series 4: Artist Files, 1967-2014 (Boxes 4-38, 80; 34 linear feet)

Series 5: Printed Material, 1963-2014 (Boxes 38-44, 80, OV 88 - OV 90; 5.2 linear feet)

Series 6: Artwork, 1970s-circa 1980 (Box 44, OV 81-OV 87; 0.8 linear feet)

Series 7: Photographic Materials, 1960s-2014, bulk 1969-1999 (Boxes 44-76; 32 linear feet)

Series 8: Ivan C. Karp Personal Papers, 1961-2012 (Boxes 76-79; 4 linear feet)

Historical note:: OK Harris Works of Art specialized in a wide range of contemporary art and was known for its early support of Photo-realism. When it opened in 1969, the gallery was one of the first to operate in the SoHo area of Manhattan and its presence helped shape the neighborhood's development into a vibrant arts district.

Ivan C. Karp (1926-2012), the founder of OK Harris Works of Art, established a reputation in the art world while co-director of Leo Castelli Gallery from 1959-1969. He is credited with launching the careers of Pop artists such as Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, John Chamberlain, Tom Wesselmann, and Claes Oldenburg. Karp wrote, published, and lectured extensively on art and the art business. He was the author of a romantic novel about New York life, Doobie Doo (published in 1965, front cover by Roy Lichtenstein, back cover by Andy Warhol) and his short stories were published in literary reviews. Karp was actively involved in architectural preservation efforts in New York City. As President of the Anonymous Arts Recovery Society, he rescued and stored cornices, capitals, portals, columns and other architectural fragments of historical and aesthetic interest from demolition sites. Many are displayed in his Anonymous Arts Museum, Charlotteville, NY and some became part of a sculpture garden that Karp donated to the Brooklyn Museum of Art.

While Leo Castelli Gallery was closed for summer vacations in 1963 and 1964, Karp ran his own contemporary art gallery in Provincetown. He named it OK Harris, a name he thought suggestive of a colorful, very American character. A few years later, Karp opened OK Harris Works of Art in SoHo where a portrait of a bearded man titled "Oscar Klondike Harris" hung in his office. "Mr. Harris" frequently assumed blame for delays, rejections and other unwelcome news or decisions. OK Harris Works of Art (first at 469 West Broadway and later at 383 West Broadway) was a 10,000 square foot ground-floor space where as many as six concurrent solo exhibitions were presented every six weeks. The goal was "to exhibit the broadest spectrum of the most adventuresome art being offered" and the focus was on emerging artists, many of them unknown. In addition to being at the forefront of the Photo-realist movement in 1969, OK Harris Works of Art was the first gallery to exhibit the work of Duane Hanson, Deborah Butterfield, Manny Farber, Richard Pettibone, Robert Cottingham, Robert Bechtle, Marilyn Levine, Nancy Rubins, Malcolm Morley, Luis Jiminez, Jake Berthot, Jack Goldstein, Porfirio DiDonna, and Al Souza.

An approachable, friendly man who enjoyed sharing his knowledge, Karp usually sat at the gallery's front desk and was available to all. Unlike many dealers, he was willing to look at and discuss artists' slides, offered encouragement, and often followed up with studio visits.

At his request, Marilynn Gelfman Karp became gallery director after her husband's death in 2012. She ran the business with gallery staff including Ivan's oldest son, Ethan. Following Ivan's guidelines, OK Harris Works of Art closed with a gala celebration 2014 for all the gallery's artists, collectors and friends.

Related Materials:: Also found in the Archives of American Art are oral history interviews with Ivan C. Karp conducted by Richard Brown Baker, 1963 October 18; by Paul Cummings, 1969 March 12; and by Ronny Cohen, 1986 April 17-1988 October 18. The Marilynn Gelfman Karp Collection of Ephemera owned by the New-York Historical Society includes OK Harris printed material, prints, and posters.

Provenance:: Marilynn Karp, wife of Ivan C. Karp, donated scattered papers in 2011 and 2013, and the bulk of the collection in 2014.

Restrictions:: Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:: The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:: Photo-realism Search this

Function:: Art galleries, Commercial -- New York (State)

Genre/Form:: Photographs; Prints; Diaries

Citation:: Ivan C. Karp papers and OK Harris Works of Art gallery records, 1960-2014. Archives of American Art, Smithsonian Institution.

Identifier:: AAA.okharr

See more items in:: Ivan C. Karp papers and OK Harris Works of Art gallery records

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw96a2748a9-b34e-44ba-9c6f-c4586b7960c9

EDAN-URL:: ead_collection:sova-aaa-okharr

Online Media:

Diary

Collection Author:: Harriman, Stephen (farmer) Search this; Myers, Annamae Barlup (farmer) Search this

Container:: Box 1

Type:: Archival materials

Date:: 1945

Collection Restrictions:: Collection is open for research.

Collection Rights:: Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.