Leonard and Nansi Glick are cultural anthropologists who conducted research among the Gimi peoples of Eastern Highlands Papua New Guinea as well as on the Caribbean island of Saint Lucia. The collection contains field notes, writings, drawings, photographs, sound recordings, and other material.
Scope and Contents:
The papers document Leonard and Nansi Glick's early anthropological research and later professional activities. The bulk of the collection relates to the Glick's fieldwork among the Gimi in the eastern highlands of Papua New Guinea and includes typed and handwritten field notes, drafts of papers, photographs, drawings, index cards with botanical information, and sound recordings, as well as one reel of 8mm film. A copy of Glick's dissertation, based on this research, is also included.
The Glick's Saint Lucia research is documented in field notes, reports, and photographs. Professional activities are documented to a small degree with syllabi for courses taught, notes and newsclippings, and writings.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
The collection is arranged into three series: 1. Papua New Guinea research, 2. St. Lucia research, and 3. Other professional papers.
Biographical Note:
Leonard Glick was born in Baltimore, Maryland in 1929 and grew up in the house of a dedicated pediatrician who encouraged him to become a physician. Following a pre-medical focus in college, he began medical studies at age 19 and became an M.D. at age 23. Early in his medical career, however, Glick came to realize that he was more interested in social science, particularly anthropology and related fields. At age 27 he enrolled as a graduate student in anthropology at the University of Pennsylvania.
In 1959 Glick married Nansi Swayze, a graduate student in anthropology at Bryn Mawr College. Though she did not pursue a career in academia, Nansi was a major contributor to Len's research, in data collection and analysis. In 1960 the two undertook ethnographic research among the Gimi, a community in the eastern highlands of Papua New Guinea. While focusing on Gimi medical beliefs and practices, Glick aimed for comprehensive understanding of Gimi culture and society. His dissertation, "Foundations of a Primitive Medical System: The Gimi of the New Guinea Highlands," was accepted in 1963.
Glick taught for one year at Bryn Mawr College as instructor, and in 1965 joined the faculty at the University of Wisconsin at Madison as assistant and then associate professor. In 1967 he was invited to participate in a Rockefeller Foundation-sponsored project analyzing the economic effects of bilharzia (schistosomiasis) on the Caribbean Island of Saint Lucia. Nansi and Leonard collected a great deal of data on the culture, history, politics, and medical status of St. Lucians, however their work contradicted some basic assumptions of the economists in charge of the study, and was omitted from their final publication.
In 1972 Glick joined the faculty at Hampshire College as full professor of anthropology. He remained at Hampshire College for the rest of his career, retiring in 2002. The many topics Glick taught included history of anthropology; human behavioral evolution; island peoples: Pacific and Caribbean; ethnographic film; ethnicity and ethnic conflict; anthropology of religion, and European Jewish history in anthropological perspective.
In 2018, Nansi and Leonard published a book on their time in Papua New Guinea, Among the Gimi: Fieldwork as Personal Experience that reflects on their time in the field.
Provenance:
The collection was donated to the National Anthropological Archives by Leonard and Nansi Glick in 2022.
Restrictions:
The Leonard and Nansi Glick papers are open for research. Access to the collection requires an appointment.
Series 3: Other professional papers contains primarily syllabi for courses taught by Leonard Glick, but also includes some manuscript drafts on various topics as well as notes about Glick's teaching methods. Also included is an MA thesis by Alfred L. Schultz relating to research among the Agotu community in Papua New Guinea.
Collection Restrictions:
The Leonard and Nansi Glick papers are open for research. Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Leonard and Nansi Glick papers, National Anthropological Archives, Smithsonian Institution.
Contains teaching material (syllabi), Nansi Glick's drawings and notes on Gimi material culture, Leonard Glick's dissertation, and a copy of the Glick's book Among the Gimi: Fieldwork as Personal Experience.
Collection Restrictions:
The Leonard and Nansi Glick papers are open for research. Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Leonard and Nansi Glick papers, National Anthropological Archives, Smithsonian Institution.
Art Center College of Design (Pasadena, Calif.) -- Students Search this
Extent:
18 Linear feet
Type:
Collection descriptions
Archival materials
Notebooks
Visitors' books
Sketchbooks
Photographs
Paintings
Sketches
Collages
Diaries
Illustrated letters
Date:
1957-2009
Summary:
The papers of collagist and painter Janice Lowry measure 18.0 linear feet and date from 1957 to 2009. Lowry's career as an artist in Arizona and California is documented through biographical material, printed material, teaching files, and photographs. The bulk of the papers consist of six diaries; thirteen morning journals; 126 art journals which include both written text and artwork in the form of sketches, paintings, and collages; hand-made artist books; nine notebooks with sketches; and one sketchbook.
Scope and Content Note:
The papers of collagist and painter Janice Lowry measure 18.0 linear feet and date from 1957 to 2009. Lowry's career as an artist in Arizona and California is documented through biographical material, printed material, teaching files, and photographs. The bulk of the papers consist of six diaries; thirteen morning journals; 126 art journals which include both written text and artwork in the form of sketches, paintings, and collages; hand-made artist books; nine notebooks with sketches; and one sketchbook.
Biographical material includes artist statements, price lists, guest books, scattered correspondence, and exhibition, consignment, and sales records. Six diaries document Lowry's childhood from the age of 11 to 16. Thirteen morning journals date from 1998 to 2008 and are almost entirely stream of consciousness written text. In these journals Lowry records her daily life, thoughts, and dreams.
Janice Lowry's artwork is combined with her personal writings in three different sets of books, named and numbered by her - art journals, artist books, and notebooks. She kept the "art journals" for most of her adult life, averaging about four per year; some contain mainly written text, whereas others are mostly visual. There are 126 art journals found within her papers. They are filled with sketches depicting vacation spots, objects around the house, studies for works, and people. The art journals also include collages of photographs, ephemera such as ticket stubs and receipts, and other common household objects.
Artist books were handmade and titled by Lowry. They include comic book stories about her family, collage booklets, and children's books.
Lowry's notebooks contain many sketches and date primarily from Lowry's days as a student at Art Center College of Design. Three later notebooks also contain autobiographical essays about her life and family. There is one sketchbook from the 2000s.
Printed material includes newspaper clippings, magazines, press releases, posters, and gallery catalogs and guides. There are personal photographs of Janice Lowry as well as slides of her work. Teaching files contain class project, assignments, and syllabi.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material, circa 1964-2009 (Box 1, 18; 1.4 linear feet)
Series 2: Diaries, 1957-1962 (Box 2; 6 folders)
Series 3: Morning Journals, 1998-2008 (Box 2; 0.6 linear feet)
Series 4: Art Journals, Artist Books, Notebooks and Sketchbooks, circa 1973-2009 (Box 3-15, 17-20, 22; 14.2 linear feet)
Series 5: Printed Material, 1974-2009 (Box 15-16, 20; 0.5 linear feet)
Series 6: Photographs, 1965, circa 1980s-2000s (Box 16, 20; 4 folders)
Series 7: Teaching Files, circa 1989-2008 (Box 20-21; 0.5 linear feet)
Biographical Note:
Janice Lowry (1946-2009) created paintings, collages, and assemblages in Arizona and California. She is known for her box creations of homemade frames filled with found objects that often questioned and commented on life, death, journeys, and rites of passages.
Lowry was born in 1946 in Phoenix, Arizona. She started writing diaries when she was 11, and, with the exception of a decade, continued journaling until 2007. She married Jan Gilbert in 1965 and had two sons, Brandon and Kevin. During this period Lowry also set up a studio and started showing her artwork. In 1973, the family moved to California. Shortly after, she began her long battle with depression, and she divorced Jan in 1976.
Remaining in California, Lowry attended Art Center College of Design where she earned a BFA with honors in 1979 and a MFA in painting in 1980. She married Jon Gothold in 1983, and had another son, Brent. Her work sold well in the 1980's, but after her studio was destroyed in an earthquake in 1987, she took a break from making art.
Janice Lowry's first solo show was at Art Space in 1980, and the gallery continued to showcase and sell her work for many years. She taught at Art Center, Cypress College, and Oakridge Private School. Among other shows, she was part of an exhibition about 9/11 at Legacy Arts Gallery in 2001. In 2007, she was named the region's "Best Visual Artist" by the Orange County Weekly. After several health issues, Janice Lowry died of liver cancer in 2009.
Provenance:
Donated 2007 and 2009 by Janice Lowry and in 2014 by Jon Gothold, Lowry's widower and executor.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Found here are Lowry's teaching files including project and assignment details, course outlines, and syllabi.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.
Teaching files include materials related to Arnold's teaching position at Brooklyn College and as a member of the Board of Governors for the Skowhegan School of Painting and Sculpture. There are grade books, course syllabi, teaching assignments and visual aids, as well as notes. Some of the teaching materials are not immediately recognizable as being related to one school over another. The Skowhegan material mostly consists of meeting minutes and administrative records. While most of the series consists of teaching files, there are a few scattered professional files such as guest book pages related to exhibitions and a residency in Vermont.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Anne Arnold papers, circa 1925-2015. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Anne Arnold papers, circa 1925-2015. Archives of American Art, Smithsonian Institution.
This collection contains the professional papers of Conrad M. Arensberg, anthropologist, university professor, and anthropological consultant. Included are correspondence; published and unpublished writings; research materials, including notes, correspondence, diaries, charts, drafts, interviews, research plans, reports, project proposals, and bibliographic cards; speeches; pamphlets; articles from newspapers and periodicals; course materials, including bibliographies, lecture notes, reading lists, assignments, exams, project proposals, and syllabi; curriculum vitae; date books; scholarly papers and publications of other scholars; and photographs.
Scope and Contents:
This collection contains the professional papers of Conrad M. Arensberg, anthropologist, university professor, and anthropological consultant. Included are correspondence; published and unpublished writings; research materials, including notes, correspondence, diaries, charts, drafts, interviews, research plans, reports, project proposals, and bibliographic cards; speeches; pamphlets; articles from newspapers and periodicals; course materials, including bibliographies, lecture notes, reading lists, assignments, exams, project proposals, and syllabi; curriculum vitae; date books; scholarly papers and publications of other scholars; and photographs.
The materials in this collection document Arensberg's career as a university professor, his relationships with colleagues across a spectrum of disciplines, and his contributions to the field of anthropology. As a respected member of the anthropological community, Arensberg received a voluminous amount of correspondence from his peers, who often included copies of their most recent papers. He kept many of these works, which, along with his annotations, can be found throughout the collection. It appears he used these papers in a variety of ways, including as resources for his classes or as reference materials. Arensberg's own work is reflected in his writings and research files. Arensberg's Ireland research, despite its importance to his career and to the field of anthropology as a whole, has a minimal presence in the collection. Located in Series 3. Research Files, the subseries containing Arensberg's Ireland material primarily consists of photocopies of his correspondence, field notes, and diaries during this time. His role as a professor, rather than as a researcher or writer, is the most well-represented in the collection. Arensberg formed lasting relationships with many of his students, as evidenced by his continued correspondence with many of them long after their years at Columbia.
Arrangement:
The collection is organized into 8 series:
Series 1) Correspondence, 1933-1994
Series 2) Writings, 1936-1983
Series 3) Research files, 1931-1984
Series 4) Professional activities, 1933-1990
Series 5) Teaching files, 1938-1983
Series 6) Biographical files, 1946-1997
Series 7) Subject files, 1934-1979
Series 8) Photographs, undated
Biographical Note:
Conrad M. Arensberg was born on September 12, 1910 in Pittsburgh, Pennsylvania. Academically inclined from a young age, he graduated first in his class at Shadyside Academy in Pittsburgh. His early success earned him admittance to Harvard College. Arensberg studied anthropology and graduated summa cum laude in 1931.
As a graduate student at Harvard University, Arensberg was asked to join a project being conducted in Ireland by Harvard's Anthropology Department. Alongside W. Lloyd Warner and Solon T. Kimball, Arensberg spent three years studying rural Irish life in County Clare. This research resulted in his doctoral dissertation, "A Study in Rural Life in Ireland as Determined by the Functions and Morphology of the Family," which was later published as The Irish Countryman in 1937. His work was groundbreaking in the field of anthropology, and his study of County Clare "became a model for other community studies... requiring that researchers study a target culture from the inside, making meticulous notes on everything they saw, heard or experienced." Arensberg reshaped the way that anthropologists approached fieldwork and opened doors for the study of modern industrial societies.
Arensberg had a long teaching career. He first became a university professor in 1938 at the Massachusetts Institute of Technology and remained a professor for the rest of his life, teaching at MIT, Brooklyn College, Barnard College, Columbia University, the University of Florida, and the University of Virginia. At Columbia, Arensberg worked alongside such notable anthropologists as Margaret Mead, Charles Wagley, and Marvin Harris.
Arensberg officially retired in 1979, but he continued to collaborate with his colleagues, counsel past students, and participate in professional associations until his death. He passed away on February 10, 1997 in Hazlet, New Jersey.
Curriculum Vitae—Amended Posthumously. Series 6. Biographical Files. Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution.
Thomas, Robert McG. Jr. 1997. "Conrad Arensberg, 86, Dies; Hands-On Anthropologist." New York Times, February 16: 51.
Chronology
1910 September 12 -- Born in Pittsburgh, Pennsylvania
1931 -- B.A. from Harvard College
1932-1934 -- Traveled to Ireland to study rural life in County Clare as part of the Harvard Irish Mission
1933-1936 -- Junior Fellow, The Society of Fellows, Harvard University
1933-1994 -- Member and Fellow, American Anthropological Association
1934 -- Ph.D. in Anthropology from Harvard University
1937 -- Published The Irish Countryman, the result of his work in Ireland
1938-1940 -- Occasional consultant, U.S. Department of Agriculture, Bureau of American Ethnology
1938-1941 -- Assistant Professor, Department of Social Sciences and Economics, Massachusetts Institute of Technology
1940 -- Founded (with others) the Society for Applied Anthropology
1941-1946 -- Associate Professor and Chairman, Department of Sociology and Anthropology, Brooklyn College
1943-1946 -- Captain, Major, AUS, Military Intelligence Service
1946-1952 -- Associate Professor of Sociology, Chairman (until 1949) Department of Sociology, Barnard College, Columbia University
1951-1952 -- Research Director, UNESCO, Institute for the Social Sciences, Cologne, Germany
1951-1952 -- Editor, Point Four Manual, American Anthropological Association
1952-1953 -- Associate Professor of Anthropology, The Graduate Faculty of Political Science, Columbia University
1953-1970 -- Professor of Anthropology, Chairman (1956-1959), Department of Anthropology, Columbia University
1962-1978 -- Co-Director (with Alan Lomax) of Columbia University's Cross-Cultural Surveys of Social Structure and Expressive Behavior
1970-1979 -- Buttenwieser Professor of Human Relations, Columbia University
1979-1997 -- Buttenwieser Professor Emeritus of Human Relations, Columbia University
1980 -- President, American Anthropological Association
1991 -- First recipient, "Conrad M. Arensberg Award" of the Society for the Anthropology of Work
1997 February 10 -- Died in Hazlet, New Jersey
Related Materials:
Arensberg is listed as a correspondent in the following collections at the Smithsonian Institution's National Anthropological Archives: John Lawrence Angel papers; Papers of Carleton Stevens Coon; Ethel Cutler Freeman papers; Frederica de Laguna papers; Ruth Landes papers; William Duncan Strong papers.
For oral history interviews with Arensberg, see the following collections:
-The Smithsonian Institution's Human Studies Film Archives "Video Dialogues in Anthropology: Conrad Arensberg and Lambros Comitas, 1989." In this video oral history conducted by anthropologist Lambros Comitas, Arensberg comments on his training in anthropology, the individuals who were influential in his career, and the geographical areas where he conducted his fieldwork.
-The National Anthropological Archives Manuscript (MS) 2009-15. May Mayko Ebihara conducted this oral history interview with Arensberg on March 7, 1984 as part of a larger oral history project with anthropologists.
For more concerning Arensberg's work with interaction theory, see the Frederick L.W. Richardson papers at the National Anthropological Archives. Richardson worked closely with Eliot Chapple and Conrad Arensberg on theories concerning human interaction.
For correspondence and other information related to Arensberg's Ireland research, see:
Solon Toothaker Kimball Papers, Special Collections, Teachers College, Columbia University; and Solon Toothaker Kimball Papers, The Newberry Library, Chicago.
Additional materials concerning Arensberg's research and personal life can be found among the papers of his wife, anthropologist Vivian "Kelly" Garrison. See the Vivian E. Garrison papers at the National Anthropological Archives.
Provenance:
These papers were donated to the National Anthropological Archives by Vivian E. Garrison Arensberg in 2011.
Restrictions:
The Conrad M. Arensberg papers are open for research.
Files containing Arensberg's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. For preservation reasons, the computer disk containing digital correspondence files from Joel Halpern is restricted.
Access to the Conrad M. Arensberg papers requires an appointment.
Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of Conrad M. Arensberg were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Vivian E. Garrison Arensberg.
The teaching files series contains syllabi and course materials related to Hills' role as an instructor, as both adjunct and visiting faculty at various institutions, and later during her tenure at Boston University. Also included is correspondence related to teaching including theses and dissertations defended with Hills as a reader.
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.
Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.
The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.
Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.
Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.
Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.
Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.
Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.
Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.
Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.
There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.
Missing Title
Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)
Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)
Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)
Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)
Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)
Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)
Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)
Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)
Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)
Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.
Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.
After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.
In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.
In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.
In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.
Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).
In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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.
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
(invitation; catalogs; letters to Barraza from the Fra Angelico Art Foundation, 03/16/1994, and from Annie Kostiner of Gallery 312, 10/03/1994; Children's Art Workshop, Taller de Niños, information sheet; syllabi and course information for various courses at the School of the Art Institute of Chicago)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
(typescript, "Las Mujeres de la Raza" by Cardenas and Amalia Malagamba), May 1990; SOC 348K/MAS 374 and SOC 360M course syllabi and related materials, taught by Cardenas)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
The papers of California artist Tom Wudl measure 7.3 linear feet and date from 1918-2021 with the bulk dating from 1968-2015. The collection is comprised of biographical material, correspondence, personal business records, writings, teaching materials, printed material, photographic material, and artwork. Some material is in digital formats.
Scope and Contents:
The papers of California artist Tom Wudl (1948- ) measure 7.3 linear feet and date from 1918-2021, with the bulk from 1968-2015. Biographical material includes written biographies, curricula vitae,and resumes, award certificates, and immigration paperwork from Wudl's parents' journeys from Vienna and Cochabamba, Bolivia. Correspondence is both professional and personal in nature, including many cards and letters from students, as well as some letters from museums and galleries. Personal business records include exhibition files and documents relating to the functioning of Wudl's studio including, grants, donations, sales and consignments, as well as print production. Writings include artist statements and autiobiographical essays, journals and notebooks, as well as lecture materials and writings by others on Wudl's work, and proposals for exhibitions.
Teaching materials include syllabi and lesson plans, as well as student writing assignments. Also included are planning documents from trips taken with students from Wudl's private teaching practice. Printed material includes announcements, invitations, reviews and catalogs from Wudl's exhibitions, in addition to other artists who Wudl admired, including former students. Also included are artist books inscribed to Wudl and a subject file on Buddhism. Photographic material includes snapshots and other photographs used as source material for Wudl's paintings, as well as photographs of family and friends including Wudl's early childhood in Bolivia. Also included are slides and transparencies of Wudl's artwork, many organized by his gallery LA Louver. Artwork includes a number of sketchbooks and loose drawings, as well as photographs used in artwork by Wudl and photographic artworks by other artists, as well as illustrations for a children's book from 1992, and giclee prints from 2008. Some material is in digital format.
Arrangement:
The collection is arranged as eight series:
Series 1: Biographical Material , circa 1918-2013 (0.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1970s-2020 (1 Linear foot: Boxes 1-2)
Series 3: Personal Business Records, circa 1980-2017 (0.5 Linear feet: Box 2, 8)
Series 4: Writing, circa 1965-2019 (1.2 Linear feet: Boxes 2-3)
Series 5: Teaching Files, circa 1984-2013 (0.3 Linear feet: Boxes 3-4)
Series 6: Printed Material , circa 1968-2020 (1.5 Linear feet: Boxes 4-5, 8)
Series 7: Photographic Material, circa 1950-2015 (1.8 Linear feet: Boxes 5-8)
Series 8: Artwork, circa 1967-2008 (0.9 Linear feet: Boxes 7-8)
Series 9: Unprocessed Born-Digital Media (1 folder: Box7)
Biographical / Historical:
Tom Wudl (1948- ) is an artist and educator living in Los Angeles, California. Wudl was born in Cochabamba, Bolivia as the son of two industrious Jewish exiles who fled persecution in Vienna and would run several businesses including a textile factory and a dairy company. He dedicated his pursuits to becoming an artist even before the family relocated to Los Angeles with his family at age ten, and was determined to quickly learn English. Wudl received his Bachelor of Fine Arts degree from Chouinard Art Institute, but credits the rest of his art education with extensive travel in Europe and Japan. Wudl is associated with the resurgence of figurative painting in the 1980s, and his subject matter is often inspired by his keen interest in Buddhism. Wudl showed with a number of galleries before finding representation with LA Louver in Venice, CA in the 1980s, a relationship that would endure his entire career. Wudl has exhibited his work in museums and galleries nationally and internationally, including Documenta 5 at Kassel; Sezon Museum of Art, Tokyo, and Nagoya City Museum in Japan; the Whitney Museum of American Art, New York; San Francisco Museum of Art; Pasadena Art Museum; and the Los Angeles County Museum of Art. He taught painting and art history at various schools in the eighties and nineties including the Art Center College of Design, Pasadena; UCLA; UC Irvine; UC Santa Barbara; Claremont College; and Otis College of Art and Design, and eventually established a private teaching practice operating from his studio. Public collections featuring Wudl's work include Los Angeles County Museum of Art, Metropolitan Museum of Art, New York, Museum of Contemporary Art, Chicago, Museum of Contemporary Art, Los Angeles, and the Whitney Museum of American Art, New York.
Related Materials:
The Archives of American Art also holds a 2019 November 22-24 oral history interview and a 2020 July 15 oral history interview with Tom Wudl.
Provenance:
Donated in 2022 by Tom Wudl.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own.
Teaching materials include syllabi and lesson plans, as well as student writing assignments. Also included are planning documents from trips taken with students from Wudl's private teaching practice.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own.
Collection Citation:
Tom Wudl papers, 1918-2021, bulk 1968-2015. Archives of American Art, Smithsonian Institution.
Ted Stamm slides of works of art and exhibitions measure 2.2 linear feet and date from circa 1968-1986, and 2018. The collection is comprised primarily of approximately 6450 35mm slides assembled by the painter Ted Stamm between his arrival in New York in 1968 and his death in 1984. The majority of the slides were photographed by Stamm himself, and collectively form a unique and expansive record of artworks and exhibitions on view in New York during that time period, by a variety of artists including Stamm.
Scope and Contents:
Ted Stamm slides of works of art and exhibitions measure 2.2 linear feet and date from circa 1968-1986, and 2018. The collection is comprised primarily of approximately 6450 35mm slides assembled by the painter Ted Stamm between his arrival in New York in 1968 and his death in 1984. The majority of the slides were photographed by Stamm himself, and collectively form a unique and expansive record of artworks and exhibitions on view in New York during that time period, by a variety of artists including Stamm.
The collection includes both exhibition views and individual artworks photographed in situ. In addition to exhibitions in galleries and nonprofit spaces, Stamm also photographed works installed in public spaces, graffiti and street art, and views of the gallery facades and architectural fabric of Lower Manhattan.
Stamm used the slides in his own teaching, and the collection includes a set of slides documenting periods of art history. Additional teaching material includes examples of course descriptions, syllabi, reading lists, and other teaching materials for courses taught by Stamm. Printed material includes an artist book, an exhibition catalog, and a monograph/catalog.
Arrangement:
The collection is arranged as three series.
Series 1: Slides, circa 1968-circa 1984 (Boxes 1-2; 2 linear feet)
Series 2: Teaching Material, 1977-1982 (Box 3; 0.1 linear feet)
Series 3: Printed Material, 1979-1986, 2018 (Box 3; 0.1 linear feet)
Biographical / Historical:
Ted Stamm (1944-1984) was a multidisciplinary conceptual artist and educator in New York, New York, known for his focused series of paintings, works on paper, and studies. Stamm's studies, such as the Wooster series, were influenced by the shapes, street contours, and intersections he could see from his studio on Wooster Street in SoHo.
Stamm was born in Brooklyn, New York, and attended Hofstra University, graduating with a Bachelor of Fine Arts in 1967. In 1968 he settled in New York City and his early work was included in exhibitions at the Brooklyn Museum Art School in New York and in the alumni show at Hofstra University in 1971.
From 1974 until his death in 1984, Stamm lived and worked on the top floor of 101 Wooster Street in New York City. There he began his iconic group of works titled Woosters, and subsequent series including Dodgers, from the Brooklyn Dodgers baseball team, C-Dodgers influenced by the Concorde planes he observed at John F. Kennedy Airport, and Designators, graffiti Stamm painted on buildings in stages which he would photograph each time he returned to develop the graffiti further.
Stamm's work was exhibited widely throughout his life, both internationally and in the United States. He taught classes at the School of Visual Arts, Hofstra University, and C. W. Post College, and was awarded National Endowment for the Arts and Guggenheim fellowships in 1981 and 1983.
Stamm died of congenital heart disease at the age of 39.
Provenance:
The collection was donated in 2022 by The Ted Stamm Estate via Per Haubro Jensen.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all slides taken by Stamm.
Occupation:
Conceptual artists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Citation:
Ted Stamm slides of works of art and exhibitions, circa 1968-1986, 2018. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by The Walton Family Foundation.
