Search Results

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance Coleman, 1905-2002  Search this

Subject:

Rutledge, Anna Wells  Search this

Simper, Fred  Search this

McDermott, John Francis  Search this

Speck, Walter  Search this

Stevens, William B.  Search this

Fredericks, Marshall M.  Search this

Castano, Giovanni  Search this

Soria, Regina  Search this

Lynes, Russell  Search this

Frankenstein, Alfred V. (Alfred Victor)  Search this

Hardy, Jeremiah Pearson  Search this

Pleasants, J. Hall (Jacob Hall)  Search this

Garrison, Eve Josephson  Search this

Bishop, Isabel  Search this

Allston, Washington  Search this

Woolfenden, William E. (William Edward)  Search this

Ripley, S. Dillon (Sidney Dillon)  Search this

Morse, John D.  Search this

Watkins, Franklin Chenault  Search this

Lewis, W. S. (Wilmarth Sheldon)  Search this

Marsh, Reginald  Search this

Sheeler, Charles  Search this

Kuniyoshi, Yasuo  Search this

Bostick, William A.  Search this

Jungwirth, Irene G. (Irene Gayas)  Search this

Oliver, Andrew  Search this

Simpson, Corelli C. W.  Search this

Andrews, Wayne  Search this

Valentiner, Wilhelm Reinhold  Search this

Middeldorf, Ulrich Alexander  Search this

Spark, Victor D. (Victor David)  Search this

Fleischman, Lawrence A. (Lawrence Arthur)  Search this

Sellers, Charles Coleman  Search this

Heil, Walter  Search this

Lee-Smith, Hughie  Search this

Bouché, Louis  Search this

Moser, Liselotte  Search this

Flexner, James Thomas  Search this

Vose, Robert C. (Robert Churchill)  Search this

Cohn, Harold  Search this

Aram, Siegfried F.  Search this

Mast, Gerald  Search this

Krentzin, Earl  Search this

Groce, George C.  Search this

Peale, Charles Willson  Search this

Culver, Charles B. (Charles Beach)  Search this

Wedda, John  Search this

Boyd, Julian P. (Julian Parks)  Search this

O'Keeffe, Georgia  Search this

Wyeth, Andrew  Search this

Hopper, Edward  Search this

Rockefeller, Nelson A. (Nelson Aldrich)  Search this

Rockefeller, John D.  Search this

Copeland, Lammot du Pont  Search this

Freeman, Michael W.  Search this

Allen, Joseph  Search this

Peale family  Search this

Castano Galleries (Boston, Mass.)  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

Archives of American Art  Search this

Philadelphia Museum of Art  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

White House (Washington, D.C.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Type:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Citation:

E.P. (Edgar Preston) and Constance Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism  Search this

Art -- History -- Study and teaching  Search this

Theme:

Diaries  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)10104

(DSI-AAA_SIRISBib)212990

AAA_collcode_richedga

Theme:

Diaries

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212990

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance, 1905-  Search this

Names:

Archives of American Art  Search this

Castano Galleries (Boston, Mass.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

White House (Washington, D.C.)  Search this

Peale family  Search this

Allen, Joseph  Search this

Allston, Washington, 1779-1843  Search this

Andrews, Wayne  Search this

Aram, Siegfried F.  Search this

Bishop, Isabel, 1902-1988  Search this

Bostick, William A.  Search this

Bouché, Louis, 1896-1969  Search this

Boyd, Julian P. (Julian Parks), 1903-  Search this

Castano, Giovanni, 1896-1978  Search this

Cohn, Harold  Search this

Copeland, Lammot du Pont  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Flexner, James Thomas, 1908-2003  Search this

Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this

Fredericks, Marshall M., 1908-1998  Search this

Freeman, Michael W.  Search this

Garrison, Eve Josephson, 1903-2003  Search this

Groce, George C., 1899-  Search this

Hardy, Jeremiah Pearson, 1800-1889  Search this

Heil, Walter, 1890-1973  Search this

Hopper, Edward, 1882-1967  Search this

Jungwirth, Irene G. (Irene Gayas), 1913-  Search this

Krentzin, Earl, 1929-  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lee-Smith, Hughie  Search this

Lewis, W. S. (Wilmarth Sheldon), 1895-1979  Search this

Lynes, Russell, 1910-1991  Search this

Marsh, Reginald, 1898-1954  Search this

Mast, Gerald, 1908-1971  Search this

McDermott, John Francis, 1902-  Search this

Middeldorf, Ulrich Alexander, 1901-  Search this

Morse, John D., 1906-  Search this

Moser, Liselotte, 1906-1983  Search this

O'Keeffe, Georgia, 1887-1986  Search this

Oliver, Andrew, 1906-  Search this

Peale, Charles Willson, 1741-1827  Search this

Pleasants, J. Hall (Jacob Hall), 1873-1957  Search this

Ripley, S. Dillon (Sidney Dillon), 1913-2001  Search this

Rockefeller, John D., 1906-  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Rutledge, Anna Wells  Search this

Sellers, Charles Coleman, 1903-  Search this

Sheeler, Charles, 1883-1965  Search this

Simper, Fred, 1914-  Search this

Simpson, Corelli C. W.  Search this

Soria, Regina, 1911-  Search this

Spark, Victor D. (Victor David), 1898-1991  Search this

Speck, Walter, 1895-  Search this

Stevens, William B.  Search this

Valentiner, Wilhelm Reinhold, 1880-1958  Search this

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Wedda, John  Search this

Woolfenden, William E. (William Edward), 1918-1995  Search this

Wyeth, Andrew, 1917-2009  Search this

Extent:

28.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Date:

1814-1996

bulk 1921-1996

Summary:

The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Scope and Contents:

The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.

There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.

Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keeffe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.

E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.

Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.

Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.

Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.

Biographical / Historical:

Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.

E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966. Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.

While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).

Related Materials:

Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.

Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.

Provenance:

Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.

Restrictions:

Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References 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.

Occupation:

Authors -- Michigan -- Detroit  Search this

Art historians -- United States  Search this

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism  Search this

Art -- History -- Study and teaching  Search this

Genre/Form:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Citation:

Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.richedga

See more items in:

E.P. (Edgar Preston) and Constance Richardson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f0a154af-52ef-402b-b06d-60a290eec749

EDAN-URL:

ead_collection:sova-aaa-richedga

Creator:

Hofmann, Hans, 1880-1966  Search this

Names:

Hans Hofmann School of Fine Arts  Search this

Hans Hofmann School of Fine Arts (Provincetown, Mass.)  Search this

Amgott, Madeline  Search this

Dickey, Tina, 1954-  Search this

Hawthorne, Charles Webster, 1872-1930  Search this

Hofmann, Maria, 1885-1963  Search this

Hofmann, Renate Schmitz, 1930-1992  Search this

Mauer, Alfred  Search this

Extent:

29.92 Linear feet

5 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Sound recordings

Scrapbooks

Transcripts

Interviews

Photographs

Date:

circa 1904-2011

Summary:

The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; financial records; photographs; printed matter; estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital material, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Scope and Content Note:

The papers of painter, teacher, and writer Hans Hofmann measure 29.92 linear feet and 5.00 GB and date from circa 1904 to 2011, with the bulk of the materials dating from 1945 to 2000. The majority of the papers were created after 1932 and document Hofmann's life and professional career after settling in the United States. Among his papers are personal and professional correspondence; records of his schools in Munich, New York City, and Provincetown, Mass.; writings and notes; photographs; address and appointment books; artifacts; artwork; biographical information; interview transcripts; sales and estate records; and a small number of personal papers of his second wife, Renate Schmitz Hofmann. Hofmann's personal papers are augmented by a large selection of printed matter, including exhibition catalogs, articles, news clippings, and monographs about Hofmann and modern art, as well as documentary projects including Tina Dickey's compilation of oral histories and records of Hofmann's students, and research materials, sound and video recordings, digital materials, and motion picture film created and gathered by Madeline Amgott during the production of two video documentaries about Hans Hofmann released in 1999 and 2002. Hofmann's Library was acquired with his papers; inscribed/annotated volumes have been retained with the collection.

Correspondence, 1914-1966 (Series 1), consists mainly of incoming letters about professional matters and personal business. A large portion of the letters are from museum directors and curators regarding the exhibition, loan, sale or donation of Hofmann's work; publishers, editors, and others preparing catalogs or biographical works; and galleries that showed Hofmann's paintings or represented him. Also among the correspondents are students and former students, art historians, art critics, fans, and friends. Family correspondents are a sister-in-law, nieces, and a nephew in Germany. Additional correspondence concerning administrative matters, and requests for catalogs, transcripts and recommendations are among the Records of the School of Fine Arts (Series 2). Financial Records (Series 4) contain a small amount of correspondence regarding banking, taxes, and Social Security. Estate Records (Series 9) include correspondence relating to taxes, the sale of Hofmann's Provincetown house, and various legal documents. Correspondence among the Papers of Renate Schmitz Hofmann (Series 10) include condolence letters, and a small number of personal letters and business correspondence regarding Hofmann's estate.

School of Fine Arts Records, 1915-1965 (Series 2), include a very small number of items relating to the Hans Hofmann Schule fur Bildende Kunst that operated in Munich from 1915 until 1933. These are printed prospectuses, a financial record, 1925; and "Italian Schools of Painting: The Renaissance in Italy," a printed chart, probably used as a teaching aid. Other items relating to the Munich school are photographs (Series 6) of Hans Hofmann with students in the 1920s, including some taken during the summer course in Capri, circa 1925. Travel photographs, 1920s, may have been taken while teaching summer courses in Europe, and an unidentified photograph, undated, of an exhibition installation in Germany may be school-related.

The Hans Hofmann School of Fine Arts was established in New York in 1933, and his summer school in Provincetown, Mass., opened in 1934; both operated continually until Hofmann closed them in 1958 in order to paint full-time. Records of these schools are more substantial, but still quite incomplete. They consist of administrative files containing accreditation records, correspondence, model bookings, inquiries from prospective students, and printed matter about the schools. Financial records are comprised of expense statements and an analysis of income from the 1956 summer session. Student records consist of student ledgers, registration and payment records, and requests for transcripts and recommendations. Miscellaneous items are student artwork and notes. Records postdating the schools' closing are inquiries from prospective students and requests from former students for transcripts or recommendations. Additional letters from former students about matters other than transcripts and recommendations are filed with Correspondence (Series 1).

Writings, circa 1904-1965 (Series 3), are published and unpublished manuscripts by Hans Hofmann and other authors. Hofmann wrote extensively about his philosophy of painting, about himself as a teacher and an artist, and about modern art. Included are manuscripts, drafts, and revisions of Hofmann's book, Das Malerbuch: Form und Farbe in Gestaltung, circa 1904-[1952?], Search for the Real in the Visual Arts and Other Essays, published in 1948, and The Painter and His Problems-A Manual Dedicated to Painting, 1963. Articles and Essays include the constituent essays of Search for the Real in the Visual Arts and Other Essays and others on theoretical aspects of painting, Alfred Maurer, and Charles W. Hawthorne. Talks and Lectures consist of notes, outlines, and some complete texts of Hofmann's speeches. Miscellaneous Writings are shorter, informative pieces, mostly unpublished. Representative titles include: "I Am Often Asked to Explain My Work," 1946, and "About the Relation of Students and Teachers," undated. Poems by Hofmann include some written to Miz Hofmann. Notes and Lists include notes on specific works of art and lists of paintings for exhibitions, framing, and shipping.

Financial Records, 1927-1966 (Series 4), consist mainly of banking records and tax returns with supporting documentation. There are also statements of assets and liabilities, and a few subject files concerning financial matters such as "House Expenses," "Social Security," and "University of California-Financial Standing With." Additional tax records are among the documents of the Estate of Hans Hofmann (Series 9), and expenses are recorded in his 1932 appointment book (Series 5).

Miscellaneous Records, 1906-1966 (Series 5) include Addresses and Appointment Books. Artifacts are a leather wallet and 6 photogravure blocks. Artwork consists of 4 sketches and block prints of 3 red shapes, one the numeral 5. Included with Biographical Information are birth and marriage certificates, immigration and naturalization papers, wills, Hofmann and Wolfegg family documents, biographical notes and chronologies, and a bibliography of writings on and by Hofmann. Interview Transcripts are of 3 interviews with Hofmann conducted for various purposes. Sales Records include lists of paintings sold through galleries and privately, and a list of prices computed by canvas size.

Photographs, circa 1925-1966 (Series 6) are of People, Events, Places, Works of Art, and Miscellaneous Subjects; also, Oversize Photographs. People include views of Hofmann alone and with Miz, students, and others; Miz Hofmann; Renate Schmitz Hofmann; and the Hofmann family. Also, there are pictures of identified and unidentified individuals and groups. Events recorded are "Forum 49" at Gallery 200, exhibition installations, openings, and ceremonies for honorary degrees awarded Hofmann. Photographs of places include Miz Hofmann's Munich apartment; interior and exterior views of Hofmann's Provincetown house; exterior views of the Provincetown school; Hofmann's New York studio; and unidentified houses and landscapes. Travel pictures are of Italy, Mexico, California [?], and unidentified locations. Photographs of works of art by Hofmann are mainly 35-mm color slides of works completed from 1935 to 1965. There are also photographs of works by other artists and Hofmann students. Teaching materials are photographs of Old Masters paintings, drawings, and Classical sculpture, some marked to indicate line, form, or proportion. Miscellaneous subjects are a dog, cat, and doll; also, a cover design for Search for the Real in the Visual Arts. The oversize photographs include portraits of Hans Hofmann and Miz, and works of art by Hofmann students.

Printed Matter, 1930-1978 (Series 7), contains articles, essays and a letter to the editor by Hans Hofmann; the remaining material by other authors is categorized by type. Exhibition Catalogs and Related Items (mainly announcements and invitations), 1931-1978, undated, are from group and solo shows that featured the work of Hans Hofmann; also, catalogs and announcements of other artists' exhibitions collected by Hofmann. Newspaper clippings and articles from periodicals include reviews, feature articles, articles with brief references to Hofmann or reproductions of his work, and obituaries. Others are on art-related topics and miscellaneous subjects. Miscellaneous printed matter includes a variety of items such as brochures about art courses (not the Hofmann school), reproductions of works by Hofmann and other artists, book prospectuses, and statements. Art Museum: A Center for Cultural Study, a prospectus showing models and drawings of the proposed University Art Museum, Berkeley, notes the location of its Maria and Hans Hofmann Wing. A Scrapbook, 1944-1962, contains clippings, exhibition reviews, and some catalogs, checklists, and invitations. Nineteen books that mention or are about Hofmann are a part of this series.

Hans Hofmann's Library (Series 8) of art books and general literature was acquired with his papers. Inscribed and annotated volumes have been retained. Books about or mentioning Hofmann are among Printed Matter (Series 7). All other books and periodicals (376 items) were transferred to the Library of the Smithsonian's American Art Museum.

Estate of Hans Hofmann, 1945-1974 (Series 9), consists of records of Hofmann's attorney and co-executor, Robert Warshaw, and includes correspondence and legal documents concerning taxes, the Provincetown house, and miscellaneous business matters.

Papers of Renate Schmitz Hofmann, 1962-1967 (Series 10), include notes, correspondence, condolence letters and records regarding Hans Hofmann's funeral, and information about the theft of Hofmann paintings from his Provincetown house in 1966.

Hans Hofmann Documentary Projects, 1944-2011 (Series 11) includes research materials compiled by Tina Dickey concerning Hofmann's students, correspondence as well as primary source and supplementary research materials produced and gathered by Madeline Amgott for two video documentaries on Hofmann released in 1999 and 2002. Original and edited audiovisual recordings are included in the series, as well as primary source material gathered from a variety of sources. Some material is in digital format.

Arrangement:

The Hans Hofmann papers are arranged into 11 series. Correspondence (Series 1), Financial Records (Series 4), and Papers of Renate Schmitz Hofmann (Series 10) are arranged alphabetically by folder title. Unless noted otherwise, material within each folder is arranged chronologically.

Missing Title

Series 1: Correspondence, 1914-1966 (3 linear feet; Box 1-3)

Series 2: School of Fine Arts records, 1915-1965 (2 linear feet; Box 4-5)

Series 3: Writings, circa 1904-1965 (2.5 linear feet; Box 6-8)

Series 4: Financial records, 1927-1966 (0.5 linear feet; Box 8)

Series 5: Miscellaneous records, 1906-1966 (0.8 linear feet; Box 9)

Series 6: Photographic materials, circa 1925-1965 (1.5 linear feet; Box 9-10, Box 19, MGP 1)

Series 7: Printed material, 1928-1978 (5.2 linear feet; Box 11-15, Box 20)

Series 8: Hans Hofmann Library (2.5 linear feet; Box 16-18, Box 20)

Series 9: Estate of Hans Hofmann, 1945-1974 (0.5 linear feet; Box 18)

Series 10: Papers of Renate Schmitz Hofmann, 1962-1967 (0.1 linear feet; Box 18)

Series 11: Hans Hofmann Documentary Projects, 1944-2011 (12.3 linear feet; Box 19, 21-31, FC 32-44, 5.00 GB; ER01-ER04)

Biographical Note:

German-born Hans Hofmann (1880-1966), a leading figure of the 20th century art world, was the first painter to be called an Abstract Expressionist. An esteemed and influential teacher, Hofmann operated his own school in Munich and later in New York City and Provincetown, Mass. He wrote extensively on theoretical aspects of modern art, and about himself as an artist and teacher, and was in demand as a speaker. Hofmann alternated among a variety of styles and techniques throughout his career. Many paintings combine Fauve-inspired color and Cubist structure; influenced by the Surrealist's automatism, much of Hofmann's abstract work often uses poured and spattered paint.

Johann (Hans) Georg Albert Hofmann showed musical and artistic talent as a boy and excelled in the study of science and mathematics. Technical knowledge acquired through working as assistant to the Director of Public Works of the State of Bavaria enabled him, while still a teenager, to invent several mechanical devices. Hofmann attended Moritz Heymann's Munich art school in 1898. Willi Schwarz, one of his teachers during this period, introduced him to Impressionism, and by visiting galleries Hofmann's awareness of contemporary art movements expanded. Schwarz also introduced him to art collector Phillip Freudenberg whose patronage made a move to Paris possible.

Hofmann arrived in Paris in 1904 and began attending evening sketch classes at the Académie Colarossi and the Académie de la Chaumière where Matisse was among his fellow students. During his 10 years in Paris, Hofmann established a close friendship with Robert Delaunay and met Braque, Arthur B. Carles, Léger, Picasso, and Leo Stein. He painted Cubist landscapes, still lifes, and figure studies, and participated in group shows with Neue Sezessions, Berlin, 1908 and 1909. In 1910, the Paul Cassierer Gallery, Berlin, presented Hofmann's first solo exhibition.

When World War I broke out, Hofmann was visiting Germany. War conditions prevented his return to Paris and terminated Freudenberg's financial assistance. Disqualified for military service due to a lung condition, Hofmann decided to earn his living by teaching. The Hans Hofmann Schule für Bildende Kunst in Munich opened in 1915 and was a success from its earliest days. Beginning in 1917, summer courses were offered in locations such as Italy, France, Bavaria, and Dalmatia. After the war, Hofmann's school began to attract American students including Carl Holty, Alfred Jensen, Louise Nevelson, Worth Ryder, Vaclav Vytlacil, and Glenn Wessels.

Hofmann first came to the United States in 1930, when former student Worth Ryder, art department chairman at the University of California, Berkeley, invited him to teach the summer session at Berkeley. He returned to California the following year, teaching a semester at the Chouinard School of Art, Los Angeles, followed by another summer session at Berkeley. Hofmann moved to New York in 1932 because of the political situation at home and at the urging of his wife, who was to remain in Germany until 1939.

While Hofmann served as guest instructor at the Thurn School of Art, Gloucester, Mass., during the summers of 1932 and 1933, his Munich school offered summer sessions taught by Edmund Daniel Kinzinger. Its 1933 prospectus noted, "Mr. Hofmann will probably conduct the summer school personally..." But he did not return, and the school closed in the fall of 1933.

Hofmann taught at Art Students League in the fall of 1932. The Hans Hofmann School of Fine Arts opened in New York City in the autumn of 1933, operating in several locations before moving to permanent quarters at 52 West 8th Street in 1938. He established the summer school at Provincetown, Mass. in 1934. Firsthand knowledge of Picasso, Matisse, and european modern art trends, along with his theories and the freedom he offered students, made Hofmann a widely admired, influential, and important teacher. Among his students were: Burgoyne Diller, Ray Eames, Helen Frankenthaler, Red Grooms, Harry Holtzman, Allen Kaprow, Lillian Kiesler, Lee Krasner, George McNeil, Irene Rice Pereira, and Richard Stankiewicz. In addition, art critic Clement Greenberg was significantly influenced by Hofmann's lectures on artistic theory. Both schools flourished until Hofmann decided to close them in 1958; after teaching for 43 consecutive years, he wanted to paint full-time.

In his writings, Hofmann expanded on theories regarding form, color, and space developed during his years in Paris. His most important text, Das Malerbuch: Form und Farbe in Gestaltung, based on notes begun in Paris circa 1904, was written during his second summer at Berkeley, 1931. That same year, Glenn Wessels translated it into English as Creation in Form and Color. Although Hofmann produced additional notes and revisions over the next two decades, the manuscript remains unpublished. Hofmann wrote essays and articles, many of which were published. A collection of Hofmann's writings, Search for the Real and Other Essays, was published in conjunction with his 1948 retrospective exhibition at the Addison Gallery of American Art, Andover, Mass., the first solo show of an Abstract Expressionist to be organized by a museum. Other published and unpublished articles, essays, and shorter writings that elucidate his theoretical concerns include: "The Mystification of the Two- and Three-Dimensional in the Visual Arts," 1946; "Pictorial Function of Colours," 1950; "Space Pictorially Realized Through the Intrinsic Faculty of the Colours to Express Volume," 1951; "The Color Problem in Pure painting-Its Creative Origin," 1955; "The Creative Process-Its Physical and Metaphysical Performing," 1956; "Nature as Experience and Its Pictorial Realization," undated; and "Pure Colour Space," undated.

Hofmann's lectures to his own students, and talks presented to art groups and the general public addressed many of the same themes. He gave his first American lecture in 1930 at the University of Minnesota, and presented talks to a variety of groups while in California. Hofmann was a frequent speaker at the Provincetown Art Association, and participated in the "Forum 49" series he helped to organize at Gallery 200 in Provincetown, 1949.

In the last decade of his life, Hofmann produced a large number of paintings. He was represented in the XXX Venice Biennale, 1960, and major retrospective exhibitions were organized by the Whitney Museum of American Art, 1957, and the Museum of Modern Art, 1963. In 1963, he made a gift of 45 paintings to the University of California, Berkeley, and funded construction of a wing to house them in the soon-to-be-built University Art Museum. Hans Hofmann died in New York City on Feb. 17, 1966.

Missing Title

1880 -- Hans Hofmann is born in Weissenburg, Bavaria, on 21 March, the son of Theodor and Franziska Hofmann.

1886 -- The family moves to Munich, where Theodor becomes a government official. Hans studies mathematics, science, and music at the gymnasium. He plays the violin, piano and organ and begins to draw.

1896 -- With his father's help, finds a position as assistant to the director of public works of the State of Bavaria. Develops his technical knowledge of mathematics, resulting in several scientific inventions, including an electromagnetic comptometer.

1898 -- Studies with Willi Schwarz at Moritz Heymann's art school in Munich, where he is introduced to Impressionism.

1900 -- Meets Maria (Miz) Wolfegg, his future wife.

1903 -- Through Willi Schwarz, he meets the nephew of a Berlin collector, Philipp Freudenberg, who becomes his patron from 1904-1914 and enables him to live in Paris.

1904 -- Frequents the Café du Dome, a haunt of artists and writers, with Jules Pascin, a friend from Moritz Heymann's school. Miz joins him in Paris. Attends evening sketch class at the Académie de la Grand Chaumière and the Académie Colarossi. Meets Pablo Picasso, Georges Braque, and Henri Matisse.

1908 -- Exhibits with the Neue Sezession in Berlin and again in 1909. Miz designs scarves with Sonia Delaunay (then Sonia Uhde).

1910 -- First one-person exhibition held at Paul Cassirer Gallery, Berlin. Meets Robert Delaunay, with whom he designs patterns for Sonia Delaunay's Cubist fashions. During their close friendship, both men develop as colorists.

1914 -- Hans and Miz leave Paris for Corsica so that Hans can regain his health during a bout of what turned out to be tuberculosis. Called to Germany by the illness of his sister Rosa, they are caught on the Tegernsee by the outbreak of World War I.

1915 -- Disqualified for the army due to the after effects of his lung condition, and with the assistance of Freudenberg terminated by the war, Hofmann decides to earn a living teaching. In the spring, he opens the Hans Hofmann School of Fine Arts at 40 Georgenstrasse, Munich.

1918-29 -- After the war his school becomes known abroad and attracts foreign students such as Worth Ryder, Glenn Wessels, Louise Nevelson, Vaclav Vytlacil, Carl Holty, Alfred Jensen, and Ludwig Sander. Holds summer session at Tegernsee, Bavaria (1922), Ragusa (1924), Capri (1925-1927), St. Tropez (1928-1929). Makes frequent trips to Paris. Has little time to paint but draws continually.

1924 -- Marries Miz Wolfegg on 5 June.

1929 -- A series of his drawings is reproduced by a photographic process known as Lichtdrucke.

1930 -- At the invitation of Worth Ryder, teaches in a summer session at the University of California, Berkeley, where Ryder is chairman of the Department of Art. Returns to Munich for the winter.

1931 -- In the spring, teaches at the Chouinard School of Art, Los Angeles, and again at Berkeley in the summer. Wessels helps him with the first translation of his book Form und Farbe in der Gestaltung, begun in 1904. Exhibits a series of drawings at the California Palace of the Legion of Honor, San Francisco, his first show in the United States.

1932 -- Returns to the Chouinard School of Art in the summer. Advised by Miz not to return to Munich because of a growing political hostility to intellectuals, settles in New York. Vaclav Vytlacil helps arrange a teaching position for him at the Art Students League.

1932-33 -- Summer sessions at the Hans Hofmann School of Fine Arts continue in St. Tropez (1932) and Murnau (1933), taught by Edmund Daniel Kinzinger. The school closes in the fall of 1933, and Miz gives up the lease in 1936.

1933 -- Spends the summer as guest instructor at the Thurn School of Art in Gloucester, Mass. In the fall, opens the Hans Hofmann School of Fine Arts at 444 Madison Avenue in New York. After a prolonged period of drawing, begins to paint again.

1934 -- Upon the expiration of his visa, travels to Bermuda to return with a permanent visa. Opens a summer school in Provincetown, Mass. The Hans Hofmann School of Fine Arts opens at 137 East 57th Street in New York. In 1936, the Hofmann School moves to 52 West 9th Street.

1938 -- The Hofmann School moves to 52 West 8th Street. A planned European summer session (traveling to Paris, the Cote d'Azure, Italy, and Capri) is called off after Hitler moves into Austria in the Spring. Delivers a lecture series once a month at the school in the winter of 1938-39, which is attend by the vanguard of the New York art world, including Arshile Gorky and Clement Greenberg.

1939 -- Miz Hofmann arrives in America. After a stay in New Orleans, joins her husband in Provincetown. They spend five months each summer in Provincetown and the rest of the year in New York.

1941 -- Becomes an American citizen. Delivers an address at the annual meeting of the American Abstract Artists at the Riverside Museum. One-person exhibition at the Isaac Delgado Museum of Art, New Orleans.

1942 -- Hofmann's former student Lee Krasner introduces him to Jackson Pollock.

1944 -- First exhibition in New York at Art of This Century Gallery, arranged by Peggy Guggenheim. "Hans Hofmann, Paintings, 1941-1944" opens at the Arts Club in Chicago and travels on to the Milwaukee Art Institute in January 1945. Howard Putzel includes Hofmann in "Forty American Moderns" at 67 Gallery, New York. He is also included in "Abstract and Surrealist Art in America" at the Mortimer Brandt Gallery, New York (arranged by Sidney Janis in conjunction with publication of Janis's book of the same title).

1947 -- Exhibitions at Betty Parsons Gallery in New York, in Pittsburgh, and at the Dallas Museum of Fine Arts. The Texas show travels to Denton, Tex.; Norman, Okla.; and Memphis, Tenn. Begins to exhibit with the Kootz Gallery in New York. Kootz holds a one-person show of Hofmann's work each year until his death (with the exception of 1948 and 1956).

1948 -- Retrospective exhibition a the Addison Gallery of American Art in Andover, Mass., in conjunction with publication of his book, Search For the Real and Other Essays.

1949 -- Travels to Paris to attend the opening of his exhibition at the Galerie Maeght and visits the studios of Picassso, Braque, Constantin Brancusi, and Joan Miro. Helps Fritz Bultman and Weldon Kees organize Forum 49, a summer series of lectures, panels, and exhibitions at Gallery 200 in Provincetown.

1950 -- Participates in a three-day symposium at Studio 35 in New York with William Baziotes, James Brooks, Willem de Kooning, Herbert Ferber, Theodoros Stamos, David Smith, and Bradley Walker Tomlin. Joins the "Irascibles"-a group of Abstract Expressionists-in an open letter protesting the exclusion of the avant-garde from an upcoming exhibition of American art at the Metropolitan Museum of Art in New York.

1951 -- Juries the 60th Annual Exhibition at the Art Institute of Chicago with Aline Louchheim and Peter Blume.

1954 -- One-person exhibition held at the Baltimore Museum of Art.

1955 -- Designs mosaic murals for the lobby of the new William Kaufmann Building, architect William Lescaze, at 711 Third Avenue, New York. Retrospective held at the Art Alliance in Philadelphia.

1957 -- Retrospective exhibitions held at the Whitney Museum of American Art, New York, which then travel to Des Moines, San Francisco, Los Angeles, Seattle, Minneapolis, Utica, and Baltimore.

1958 -- Hofmann ceases teaching to devote himself full time to painting. He moves his studio into the New York and Provincetown schools. Completes a mosaic mural for the exterior of the New York School of Printing (Kelley and Gruzen, architects) at 439 West 49th Street.

1960 -- Represents the United States with Philip Guston, Franz Kline, and Theodore Roszak at the XXX Venice Biennale.

1962 -- Retrospective exhibition opens in Germany at the Frankische Galerie am Marientor, Nuremberg, and travels to the Kolnischer Kunstverein, Cologne, and the Kongreilhalle, Berlin. In Munich, Neue Galerie im Kunstlerhaus presents "Oils on Paper, 1961-1962." Awarded an honorary membership in the Akademie der Bildenden Kunste in Nuremberg and an honorary Doctor of Fine Arts degree by Dartmouth College in Hanover, N. H.

1963 -- Miz Hofmann dies. Retrospective exhibition at the Museum of Modern Art organized by William Seitz travels throughout the United States and internationally to locations in South America and Europe, including Stuttgart, Hamburg, and Bielefeld. Signs a historic agreement to donate 45 paintings to the University of California at Berkeley and to fund the construction of a gallery in his honor at the new university museum, then in the planning stage. The exhibition "Hans Hofmann and His Students," organized by the Museum of Modern Art, circulates in the United States and Canada.

1964 -- Awarded an honorary Doctor of Fine Arts degree from the University of California at Berkeley. Serves on the jury for the 1964 Solomon Guggenheim International Award. Becomes a member of the National Institute of Arts and Letters, New York. Renate Schmitz inspires the Renate series.

1965 -- Awarded an honorary Doctor of Fine Arts degree by Pratt Institute, New York. Marries Renate Schmitz on 14 October.

1966 -- Hans Hofmann dies on 17 February in New York.

Related Material:

The holdings of the Archives of American Art include papers and oral history interviews of many former students and friends of Hofmann; among these collections are correspondence, photographs, reminiscences, writings, and printed items relating to Hofmann and his school. The Lillian Kiesler Papers, 1920s-1990s include records of the Hans Hofmann School of Fine Arts.

Other Hans Hofmann Papers, 1929-1976 (1.65 linear ft.) are owned by The Bancroft Library, University of California, Berkeley (Collection number: BANC MSS 80/27 c). An inventory is available on The Bancroft Library's website at http//www.lib.berkeley.edu/BANC/

Separated Materials:

Monographs and periodicals (376 items) from Hofmann's Library not directly related to the artist were transferred to the Library of the Smithsonian's American Art Museum in 2001. The Library retained relevant volumes, dispersed others to appropriate libraries within the Smithsonian Institution, and made final decisions regarding disposition of any remaining items.

Provenance:

Renate Schmitz Hofmann, widow of the artist, donated to the Archives of American Art 313 35-mm color slides of work by Hans Hofmann in 1974. The remainder of the collection was a gift of the Estate of Hans Hofmann in 1997. Tina Dickey donated her research material in 2000 and 2001 under the auspices of the Renate, Hans, and Maria Hofmann Trust. In 2006, additional manuscripts, notes, and illustrations for Hofmann's Das Malerbuch: Form und Farbe in der Gestaltung were received from the Trust. In 2015, the Trust donated additional correspondence, research and video production materials related to two documentaries on Hans Hofmann by Madeline Amgott. 13.0 linear ft. books, exhibition catalogs, and periodicals (376 items) from Hofmann's library, received with the collection, were transferred to the Smithsonian's American Art Museum-National Portrait Gallery Library.

Restrictions:

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

Rights:

Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.

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

Occupation:

Painters  Search this

Art teachers  Search this

Topic:

Motion pictures (visual works)  Search this

Art -- Study and teaching  Search this

Art -- Philosophy  Search this

Authors -- Massachusetts  Search this

Abstract expressionism  Search this

Painting, Modern -- 20th century -- Study and teaching  Search this

Art students -- New York (State) -- New York  Search this

Function:

Art schools -- Massachusetts

Art Schools -- New York (State)

Genre/Form:

Video recordings

Sound recordings

Scrapbooks

Transcripts

Interviews

Photographs

Citation:

Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.hofmhans

See more items in:

Hans Hofmann papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95a404d2f-0dad-4193-9b6a-738b7eab2811

EDAN-URL:

ead_collection:sova-aaa-hofmhans

Author:

Lindfors, Bernth  Search this

Physical description:

ix, 188 pages

Type:

Books

Place:

United States

Date:

1995

Topic:

African literature--Study and teaching  Search this

African literature (English)--Study and teaching  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1154123

Creator:

Simon, Sidney, 1917-1997  Search this

Names:

Budd (Firm : New York, N.Y.)  Search this

Century Association (New York, N.Y.)  Search this

Colby College  Search this

Graham Gallery  Search this

Pennsylvania Academy of the Fine Arts  Search this

Skowhegan School of Painting and Sculpture -- Faculty  Search this

United States. Army. Corps of Engineers  Search this

Emmerich, André  Search this

Gonzalez, Xavier, 1898-1993  Search this

Gotfryd, Bernard  Search this

Hélion, Jacqueline  Search this

Jencks, Penelope  Search this

Kelly, Ellsworth, 1923- -- Photographs  Search this

King, William, 1925-2015  Search this

Meredith, Burgess, 1907-1997  Search this

Motherwell, Robert -- Photographs  Search this

Nevelson, Louise, 1899-1988 -- Photographs  Search this

Pousette-Dart, Richard, 1916-1992  Search this

Watson, Forbes, 1880-1960  Search this

Extent:

23.7 Linear feet

2.21 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Transcripts

Sketchbooks

Sketches

Interviews

Illustrated letters

Diaries

Date:

circa 1917-2008

bulk 1940-1997

Summary:

The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and drawings for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.

Scope and Contents:

The papers of sculptor, painter, and educator Sidney Simon measure 23.7 linear feet and 2.21 GB and date from circa 1917-2002, with the bulk of the papers dating from 1940-1997. The collection documents Simon's career through biographical material, correspondence, writings and notes, subject files, sketches, sketchbooks, printed and digital material, and photographs.

Biographical material chronicles Simon's academic training and professional activities through curriculum vitae, biographical accounts, and awards. Included are letters and memoranda, many from Forbes Watson pertaining to Simon's service as a combat artist in World War II. Also found is a transcript of an interview with Simon recounting his experiences in the Southwest Pacific. Simon's personal correspondence with colleagues, friends, and family includes scattered letters from Jacqueline Helion, Penelope Jencks, William King, Burgess Meredith, among others. Many letters are illustrated by Sidney Simon and others. General correspondence includes letters from artists, galleries, museums, public and religious institutions primarily relating to Simon's exhibitions and commissioned projects. Among the correspondents are Castle Hill, Truro Center for the Arts, Colby College, André Emmerich, Eric Makler Gallery, Xavier Gonzalez, Graham Gallery, and the Pennsylvania Academy of the Fine Arts. Interspersed among the files are letters of a personal nature. Other correspondence relates to Simon's faculty positions and his activities in professional organizations, e.g., Century Association, National Academy of the Fine Arts, and the Skowhegan School of Painting and Sculpture.

Writings and notes include Simon's 1943 diary entries recording his activities in the Army Corps of Engineers, draft versions of writings and lectures, and notes. Included are digital audio recordings of Simon's lectures at the Skowhegan School of Painting and Sculpture. Subject files provide documentation on Simon's commissioned projects, select exhibitions and competitions, as well as his faculty positions and memberships in several arts organizations. Printed material consists of clippings, invitations, announcements, newsletters, and programs. Exhibition catalogs are of Simon's solo and group shows at galleries, museums, and art organizations from 1959-1966. Photographs are of Simon by Budd Brothers, Richard Pousette-Dart, and Bernard Gotfryd. There are a number of photographs of the artist in his studio and outdoors as well as of Simon's family and friends, including group photographs with Ellsworth Kelly, André Emmerich, Robert Motherwell, and Louise Nevelson. Also found are three personal and family albums and twenty-one photograph albums of Simon's paintings and sculptures.

There is a 15.7 linear foot unprocessed addition to this collection donated in 2022 that includes exhibition files; commission files; project files; ledgers; photograph albums, slides, transparencies and glass plate negatives of works of art and installations and photographs of Simon, family and others; inventories of works of art; files relating to World War II including personal and professional photographs, blank postcards, sketches, printed material, and personnel information; unidentified CDs and a cassette with a letter from mother; journals with sketches and notes; biographical information including certificates and awards; printed material including catalogs and announcements and articles about Simon; appraisals; correspondence including posthumous letters of condolence; sketchbooks and drawings, including oversized student drawings and for commissions and competitions; interviews with Simon on Hi8 tapes, mini DV; a scrapbook; and a zinc metal plate. Materials date from circa 1940-1997 and 2008.

Arrangement:

The collection is arranged as 10 series.

Missing Title

Series 1: Biographical Material, 1940-1998 (Boxes 1, 9; 0.7 linear feet)

Series 2: Correspondence, 1936-2002 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings and Notes, 1943, circa 1960-1997 (Box 2; 0.4 linear feet, ER01-ER03; 2.21 GB)

Series 4: Subject Files, 1940-1941, 1951-1997 (Boxes 2-4, 9; 1.8 linear feet)

Series 5: Sketches, 1937-1942 (Box 4; 1 folder)

Series 6: Sketchbooks, 1939-1995 (Boxes 4-5, 9; 0.5 linear feet)

Series 7: Printed Material, circa 1933, 1942-1998 (Box 5; 0.3 linear feet)

Series 8: Scrapbooks, 1978-1995 (Box 5; 0.1 linear feet)

Series 9: Photographs, circa 1917-1997 (Boxes 5-10; 3.0 linear feet)

Series 10: Unprocessed Addition, circa 1940-1997, 2008 (Boxes 11-27, OV 28-43; 15.7 linear feet)

Biographical / Historical:

Sidney Simon (1917-1997) was a sculptor, painter, and educator who worked primarily in New York City and Truro, Massachusetts. Simon was born in Pittsburgh, Pennsylvania. At the age of 14, he won a place as a special student at the Carnegie Institute of Technology. He received a Bachelor of Fine Arts degree from the University of Pennsylvania in 1934 and from the Pennsylvania Academy of the Fine Arts in 1936. Simon also studied at the Barnes Foundation from 1937-1940. Simon received professional recognition early in his career; he was awarded the Prix de Rome Collaborative Prize in 1939 and the Edwin Austin Abbey Fellowship in mural painting in 1945.

In 1941, Simon enlisted in the U.S. Army and served in the Army Corps of Engineers. Assigned to MacArthur's headquarters as an official war artist for the Southwest Pacific Theater, Simon was chosen to paint the signing of the peace treaty between the U.S. and Japan aboard the U.S.S. Missouri. He was discharged from the army with a Bronze Star and five presidential citations. In 1945, along with Bill Cummings and Henry Varnum Poor, Simon co-founded the Skowhegan School of Painting and Sculpture, where he later served as a director and a member of the Board of Governors. By the mid-1950s, Simon's interest shifted from painting to sculpture, creating works in wood, clay, and other media. Over the years, Simon collaborated with architects on a number of public and private commissions, including the doorway for the Downstate Medical Center, the Jewish Chapel at West Point, a playground sculpture for Prospect Park, and the totemic column for the Temple Beth Abraham. In addition to serving on the faculty at Skowhegan School of Painting and Sculpture, Simon also taught at the Art Students League, Brooklyn Museum, and Parsons School of Design. An active champion of artists' rights, Simon established the New York Artists Equity Association. He participated in solo and group shows at the Graham Gallery, Provincetown Art Association and Museum, and the Sculptors Guild, among other venues.

In 1997, Sidney Simon died at the age of 80 in Truro, Massachusetts. Simon was divorced from Joan Crowell in 1964. He is survived by his wife, Renee Adriance Simon and five children from his first and second marriages.

Related Materials:

The Archives has two oral history interviews with Sidney Simon conducted by Paul Cummings in October 17-November 8, 1973 and the Karl E. Fortress taped interviews with artists, [1963-1985].

Separated Materials:

The Archives of American Art also holds materials lent for microfilming (reel D210) including biographical material, correspondence, sketchbooks, scrapbooks, and photographs of Sidney Simon. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Sidney Simon lent the Archives of American Art material for microfilming in 1965. Rene Simon, Simon's widow, donated the Sidney Simon papers in 2009. Additional material donated in 2022 by the Renee A. Simon Revocable Trust via trustees Barbara Sussman, Alexa Elam and Susanne Howard.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References 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.

Occupation:

War artists  Search this

Topic:

Art -- Study and teaching  Search this

World War, 1939-1945 -- Art and the war  Search this

Educators -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Function:

Artists' studios -- New York (State)

Genre/Form:

Sound recordings

Transcripts

Sketchbooks

Sketches

Interviews

Illustrated letters

Diaries

Citation:

Sidney Simon papers, circa 1917-2002, bulk 1940-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.simosidn

See more items in:

Sidney Simon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw973588e01-af09-4ddf-ae4c-721c446d46c3

EDAN-URL:

ead_collection:sova-aaa-simosidn

Creator:

Bush, Martin H.  Search this

Names:

ACA Galleries  Search this

Edwin A. Ulrich Museum of Art  Search this

Wichita State University -- Faculty  Search this

Andrews, Benny, 1930-2006  Search this

Beckett, Samuel, 1906-1989  Search this

Goodnough, Robert, 1917-  Search this

Hanson, Duane  Search this

Karp, Ivan C., 1926-2012  Search this

Neel, Alice, 1900-1984  Search this

Nevelson, Louise, 1899-1988  Search this

Newman, Arnold, 1918-2006  Search this

Pousette-Dart, Richard, 1916-1992  Search this

Trova, Ernest T., 1927-  Search this

Von Wicht, John, 1888-1970  Search this

Witkin, Isaac  Search this

Extent:

5.1 Linear feet

0.705 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Scrapbooks

Video recordings

Interviews

Date:

1948-2012

bulk 1970-2008

Summary:

The papers of Martin H. Bush measure 5.1 linear feet and 0.705 GB and date from 1948-2012, with the bulk of the material dating from 1970-2008. The collection documents Bush's career as an art historian, educator, consultant, and gallery director through biographical material, correspondence, interviews, subject files, a scrapbook, and printed and digital material. There is an unprocessed addition to this collection that includes one VHS tape, "American Art Forum: Martin Bush, October 27, 1988."

Scope and Contents:

The papers of Martin H. Bush measure 5.1 linear feet and 0.705 GB and date from 1948-2012, with the bulk of the material dating from 1970-2008. The collection documents Bush's career as an art historian, educator, consultant, and gallery director through biographical material, correspondence, interviews, subject files, a scrapbook, and printed and digital material. There is an unprocessed addition to this collection that includes one VHS tape, "American Art Forum: Martin Bush, October 27, 1988."

Biographical material includes curriculum vitae, a certificate of discharge from the United States Army Reserve, and a lifetime membership certificate from the Edwin A. Ulrich Museum of Art. Most of the correspondence is personal in nature and consists of letters between Bush and his colleagues at Wichita State University and the Ulrich Museum of Art, friends, and family members. Martin H. Bush's interviews on videocassette with artists and other figures in the art world include Benny Andrews, Duane Hanson, Ivan Karp, Alice Neel, Louise Nevelson, and Arnold Newman.

Subject files primarily document Martin H. Bush's activities as an art dealer and consultant and contain auction house sales and files on individual artists, including Richard Pousette-Dart, Robert Goodnough, Ernest Trova, and Isaac Witkin. Source files include illustrated letters by John Von Wicht and a folder on Samuel Beckett's correspondence with Bush that includes three holograph letters and one typescript letter from Beckett. A small amount of material references Bush's tenure as director of the ACA Gallery. Photographic and digital materials are also included.

A scrapbook contains news clippings and excerpts of newsletters covering Bush's career at Wichita State University. Printed material includes books, an educational brochure, exhibition catalogs, and a memorial booklet.

Arrangement:

The collection is arranged as 6 series.

Missing Title

Series 1: Biographical Material, 1956-2008 (Box1, OV 5; 0.2 linear feet)

Series 2: Correspondence, 1984-2012 (Box 1; 0.8 linear ft.)

Series 3: Interviews, circa 1970-1994 (Boxes 1-2; 1 linear ft.)

Series 4: Subject Files, 1963-2012 (Boxes 2-4; 2 linear ft., ER01; 0.705 GB)

Series 5: Scrapbook, 1971-2000 (Box 4; 1 folder)

Series 6: Printed Material, 1948, 1964-circa 2000 (Box 4, 0.25 linear ft.)

Series 7: Unprocessed addition, 1988 (Box 4)

Biographical / Historical:

Martin H. Bush is an art historian, educator, consultant, and gallery director.

Bush received a Bachelor of Arts from the State University of New York at Albany in 1958. From 1963-1965, he taught at Syracuse University, where he earned his Ph.D in History in 1966. Bush also served as the University's Assistant Dean for Academic Resources from 1965-1970. During this time, Martin H. Bush was also a consultant to the New York State Education Department.

From 1970-1974, Martin H. Bush was the Vice President of Academic Resource Development at Wichita State University, a position created for him by the University's President, Clark Ahlberg. In this post, Bush established a special collections department at Ablah Library and the Ulrich Museum of Art. Bush was also a consultant to several major corporations in Wichita, including Fourth Financial Corporation, Range Oil Company, and American Diversified Real Estate. In 1974, in recognition of Bush's contribution to the museum, the University opened the Martin H. Bush Outdoor Sculpture Collection. Bush has been involved in the acquisition of major pieces of outdoor sculpture from such well-known artists as Chaim Gross, Barbara Hepworth, Henry Moore, Juan Miró, Louise Nevelson, and George Rickey. In 1989, Bush moved to New York City, where he continued his work as an art consultant. From 1992-1993, he was President of the ACA Gallery.

Martin H. Bush has published many books and articles on artists as well as contributed essays for exhibition catalogs. In the 1970s-1980s, Bush interviewed major artists for public television and radio programs in Wichita, among them Benny Andrews, Isabel Bishop, Richard Pousette-Dart, and Theodoros Stamos. Martin H. Bush's honors and awards include the George S. Patton Medal by the government of Luxembourg for his essay, "Ben Shahn: The Passion of Sacco and Vanzetti," 1969; "Outstanding Educator" by the Kansas Art Education Association, 1979; and the Wichita Arts Council Award, 1984.

Provenance:

The collection was donated in 2013 by Martin H. Bush. An unprocessed addition to the collection was donated by Lisa Bush Hankin in 2016.

Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

Educators  Search this

Art historians  Search this

Consultants  Search this

Topic:

Art -- Study and teaching  Search this

Gallery directors  Search this

Genre/Form:

Photographs

Scrapbooks

Video recordings

Interviews

Citation:

Martin H. Bush papers, 1948-2012, bulk 1970-2008. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bushmart

See more items in:

Martin H. Bush papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9acae50a5-df0f-4375-b227-ea6fd5218c79

EDAN-URL:

ead_collection:sova-aaa-bushmart

Creator:

Langsner, Jules, 1911-1967  Search this

Names:

Art Institute of Chicago  Search this

Art in America  Search this

California Watercolor Society  Search this

Ford Foundation  Search this

Graham Foundation for Advanced Studies in the Fine Arts  Search this

International Association of Art Critics  Search this

Los Angeles County Museum of Art  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

New York Times  Search this

Pasadena Art Museum  Search this

Santa Barbara Museum of Art  Search this

Solomon R. Guggenheim Museum  Search this

University of Southern California -- Faculty  Search this

Adams, Clinton, 1918-2002  Search this

Brice, William, 1921-  Search this

Feitelson, Lorser, 1898-1978  Search this

Feldman, Eddy  Search this

Fogg, Adelaide  Search this

Guston, Musa  Search this

Guston, Philip, 1913-1980  Search this

Harwood, June  Search this

Kadish, Reuben, 1913-1992  Search this

Lebrun, Rico, 1900-1964  Search this

Lundeberg, Helen, 1918-  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Perls, Frank, 1910-1975  Search this

Ray, Julie  Search this

Ray, Man, 1890-1976  Search this

Turnbull, William, 2002  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Articles

Sound recordings

Essays

Lectures

Drafts (documents)

Manuscripts

Poems

Date:

circa 1910s-1998

bulk 1950-1967

Summary:

The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings normal="1941"> travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.

Scope and Contents note:

The papers of southern California contemporary art curator, critic, and historian Jules Langsner measure 4.4 linear feet and date from circa 1910s-1998, with the bulk of the materials dating from 1950-1967. Found within the papers are biographical material; correspondence with family, friends, and colleagues; writings by Langsner; exhibition files; printed materials; photographs of Langsner, others, travel, and works of art; and audio recordings of Langsner's lectures and eulogies given at his funeral.

Biographical materials consist of an address book and file, committee files, scattered financial statements, and documents related to the Ford Foundation and other foundations, teaching, and traveling.

The 0.9 linear feet of correspondence is of both a personal and professional nature. A significant portion of the correspondence is between Langsner and publications for which he wrote such as Art News, the New York Times, Meridian Books, Craft Horizons, Art International, and Art in America; galleries and museums where he lectured or curated exhibitions including the Art Institute of Chicago, California Water Color Society, Los Angeles County Museum of Art, Pasadena Art Museum, Santa Barbara Museum of Art, Museum of Modern Art, Guggenheim Museum, and the Fine Arts Patrons of Newport Harbor; colleges and organizations where he taught or was involved with such as the Graham Foundation, University of Southern California, International Association of Art Critics, and Ford Foundation; and artists that he worked with or knew personally including Rico Lebrun, William Turnbull, Man & Julie Ray, Lorser Feitelson, Helen Lundeberg, Adelaide Fogg, and Clinton Adams.

Letters to June Harwood were written while Langsner was traveling in 1964 and 1965 and discuss his travels and their relationship which culminated in marriage in Italy in 1965.

Among the 2.8 linear feet of the writings of Jules Langsner are articles for Art News, Art in America, Art International, Arts & Architecture, Aware, Beverly Hills Times, Craft Horizons, Creative Crafts, Goya Revista De Arte, Yomiuri, and Zodiac. There are also essays, lectures, poems, drafts, notes, jottings of ideas, proposals and published and unpublished manuscripts. There are drafts and unpublished versions of "Painting in the Modern World", and numerous other essays on contemporary art. There are also extensive handwritten notes on his travels, Asian art, European art, and other subjects.

Exhibition files concern "Black and White" (1958), "California Hard-Edge Painting" (1964), the Man Ray Exhibition (1966), and the William Turnbull Exhibition (1966).

Printed materials include miscellaneous flyers, brochures, and news bulletins, and press releases.

Photographs are of people, places, works of art, and exhibitions. There are photographs of Jules Langsner, June Harwood, Philip Guston, Musa Guston, William Brice, Eddy Feldman, Rube Kadish, Stanton MacDonald-Wright, Frank Perls, and unidentified individual people and groups. Photographs of Langsner's travels are of Japan, Korea, Taiwan, and other locations. Photographs of exhibitions include California Art Club, "Black and White," "California Painters & Sculptors, 35 & Under," and unidentified exhibitions. Photographs of works of art are by William Turnbull, Jack Zajac, Walter Mix, Marion Aldrich, Roger Majorowicz, and Jasper Johns.

Audio recordings include four untranscribed 7" reel-to-reel audio recordings and one cassette tape. The reel-to-reel tapes are of two lectures by Langsner, You & Art/Berlin Party, and of eulogies given at Langsner's funeral by Clement Greenberg, Henry Seldis, Peter Selz, Richard Brown, Donald Brewer, Tom Leavitt, Lorser Feitelson, Sam Francis, June Wayne, Gifford Phillips, and others. The cassette tape is a copy of eulogies.

Arrangement note:

The collection is arranged as 7 series. Photographs are arranged by subject, otherwise each series is generally arranged chronologically.

Missing Title

Series 1: Biographical Materials, 1957-circa 1960s (Box 1; 9 folders)

Series 2: Correspondence, 1948-1998 (Boxes 1-2; 0.9 linear feet)

Series 3: Writings, 1934-circa 1960s (Boxes 2-4; 2.8 linear feet)

Series 4: Exhibition Files, 1919, circa 1958-1966 (Box 4; 4 folders)

Series 5: Printed Materials, circa 1960s (Box 5; 2 folders)

Series 6: Photographs, circa 1910s-1960s (Box 5; 0.25 linear feet)

Series 7: Audio Recordings, 1954-1967 (Box 5; 0.25 linear feet)

Biographical/Historical note:

Jules Langsner (1911-1967) worked primarily in the Los Angeles area as a contemporary art critic, historian, and curator. He curated several seminal exhibitions of contemporary art, including the 1959-1960 show "Four Abstract Classicists" featuring the work of Southern California artists Lorser Feitelson, Karl Benjamin, Frederick Hammersley, and John McLaughlin.

Born Julius Harold Langsner in New York City on May 5, 1911, his family moved to Ontario, California in 1922. The family lived on a farm and opened the Paradise Health Resort which was run by Langsner's father, chiropractor Isadore Langsner, and was popular in Jewish and intellectual circles. In Ontario, Langsner became friends with three of the Pollack family sons, Jackson, Frank, and Sanford, as well as Philip Guston, Reuben Kadish, Leonard Stark, and Don Brown as a teenager. Guston, Kadish, and Jackson Pollock were later mentored by Lorser Feitelston which helped to foster in Langsner an interest in avant-garde painting.

Langsner went on to study philosophy at the University of California, Los Angeles. In the early 1940s, Langsner married and had a son, Drew Langsner. He divorced in 1946. In 1944, he enlisted in the United States Army and served as a psychiatric social worker and psychologist during World War II in the United States.

Art & Architecture magazine was the first to publish Langsner's art criticism in 1948. Throughout the 1950s and 60s his work was published widely in Art & Architecture as well as Art News, Art in America, Craft Horizons, Beverly Hills Times, Zodiac, and others. Langsner wrote extensively about art history in both published and unpublished manuscripts, including Painting in the Modern World which he worked on until his death. Additionally, he taught art history classes at the Chouinard Art Institute and University of Southern California and lectured for a variety of organizations and occasions.

Langsner curated several influential exhibitions in southern California, including the "Four Abstract Classicists" exhibition for the Los Angeles County Museum of Art in 1959 and in whose catalog he and Peter Selz coined the term "Hard-Edge painting." He curated the first full-scale retrospective of Man Ray in the United States at the Los Angeles County Museum of Art in 1966.

Langsner received a grant from the Ford Foundation in 1964 that allowed him to travel throughout Asia, the Middle East, and Europe for a year studying regional art and architecture. He wrote notes on his travels and corresponded frequently with June Harwood, a Hard-Edge painter, whom he married in Italy in 1965.

Jules Langsner died unexpectedly of a heart attack on September 29, 1967, in Los Angeles.

Related Archival Materials note:

The papers of Lorser Feitelson and Helen Lundeberg at the Archives of American Art contain a significant amount of writings by Jules Langsner, including exhibition catalog essays.

Papers of Jules Langsner, 1941-1967, are also located at the University of California, Los Angeles.

Provenance:

The Jules Langsner papers were donated to the Archives of American Art in several installments from 1973-1996, and in 2004 by June Harwood Langsner, widow of Jules Langsner. Notes for a lecture given at the Art Institute of Chicago in 1966 and 39 pieces of correspondence were donated in 1982 by the University of California Art Library, Los Angeles, via Librarian Virginia Steele.

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.

Occupation:

Art critics -- California -- Los Angeles  Search this

Art historians -- California -- Los Angeles  Search this

Topic:

Works of art  Search this

Painting, Abstract -- California  Search this

Art -- Study and teaching  Search this

Art criticism  Search this

Curators -- California -- Los Angeles  Search this

Genre/Form:

Photographs

Articles

Sound recordings

Essays

Lectures

Drafts (documents)

Manuscripts

Poems

Citation:

Jules Langsner papers, circa 1910s-1998, bulk 1950-1967. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.langjule

See more items in:

Jules Langsner papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96ca20c0c-5a91-42e5-9ff4-d5217f7fd266

EDAN-URL:

ead_collection:sova-aaa-langjule

Creator:

Lippard, Lucy R.  Search this

Subject:

Chicago, Judy  Search this

Andre, Carl  Search this

Stevens, May  Search this

Pearson, Henry  Search this

Darboven, Hanne  Search this

Henes, Donna  Search this

Hammond, Harmony  Search this

LeWitt, Sol  Search this

Edelson, Mary Beth  Search this

Judd, Donald  Search this

Johnson, Ray  Search this

Art Workers Coalition  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Alliance for Cultural Democracy  Search this

Studio International (Firm)  Search this

University of Colorado  Search this

Political Art Documentation/Distribution (Organization)  Search this

Printed Matter, Inc.  Search this

Addison Gallery of American Art  Search this

Women's Caucus for Art  Search this

Heresies Collective, Inc.  Search this

Type:

Sound recordings

Interviews

Photographs

Citation:

Lucy R. Lippard papers, 1930s-2010, bulk 1960-1990. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching  Search this

Artists -- Political activity  Search this

Art criticism  Search this

Feminism and art  Search this

Women authors  Search this

Women art critics  Search this

Art, Modern -- 20th century  Search this

Conceptual art  Search this

Minimal art  Search this

Women museum curators  Search this

Women educators  Search this

Theme:

Women  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)7895

(DSI-AAA_SIRISBib)210062

AAA_collcode_lipplucy

Theme:

Women

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210062

Interviewee:

Lippard, Lucy R.  Search this

Interviewer:

Heinemann, Sue  Search this

Subject:

Ashton, Dore  Search this

Chicago, Judy  Search this

Hammond, Harmony  Search this

Judd, Donald  Search this

LeWitt, Sol  Search this

Miss, Mary  Search this

Reinhardt, Ad  Search this

Ryman, Robert  Search this

Schneemann, Carolee  Search this

Sholette, Gregory  Search this

Stevens, May  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Art Workers Coalition  Search this

Guerilla Art Action Group  Search this

Heresies Collective, Inc.  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Political Art Documentation/Distribution (Organization)  Search this

Smith College  Search this

Heresies Collective, Inc.  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Lucy Lippard, 2011 Mar. 15. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Study and teaching  Search this

Art criticism  Search this

Feminism and art  Search this

Women authors  Search this

Women art critics  Search this

Women museum curators  Search this

Women educators  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)15936

(DSI-AAA_SIRISBib)300230

AAA_collcode_lippar11

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_300230

Interviewee:

Frimkess, Michael, 1937-  Search this

Frimkess, Magdalena Suarez  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Clay Art Center -- Students  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Otis Art Institute -- Faculty  Search this

Otis Art Institute -- Students  Search this

University of California, Berkeley. Department of Art -- Students.  Search this

Rosen, Clara  Search this

Voulkos, Peter, 1924-2002  Search this

Extent:

83 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2001 March 8-April 17

Scope and Contents:

An interview of Michael Frimkess and his wife, Magdalena Suarez Frimkess, conducted 2001 March 3-April 17, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in the Frimkesses' studio/home, Venice, California.

Frimkess speaks of his early life in East Los Angeles, growing up in a multi-ethnic neighborhood, and later moving with his family to Hollywood; his interest in modeling figures beginning at age 3; studying with Peter Voulkos at Otis Art Institute beginning in 1955; his animation for United Productions of America, where he worked on Mr. Magoo as an "in-betweener"; his drug use; playing the saxophone and his goal to "blow" like Charlie Parker; Voulkos's "pot shop" at Otis; following Voulkos to the University of California at Berkeley to learn bronze casting; and Vouklos's teaching methods. Frimkess also discusses his interest in classical Greek and Chinese proportions and simplicity of design in his ceramics; how playing music has helped him to be more ambidextrous and develop dry throwing; Clara Rosen as a mentor; his spiritual connection to other dimensions when throwing; his isolation from the craft community because of his multiple sclerosis and the controversy over his technique; the article he wrote "The Importance of Being Classical" (Craft Horizons, March/April 1966) and its impact on his career; Super Mud and other conferences; using his ceramics to express his political ideas about America as a melting pot; his imagery; plans for his upcoming exhibition in Korea; and his lack of production over the past 20 years. Michael Frimkess recalls Paul Soldner, Michael Cardew, Ken Price, Garth Clark, James Melchert, Ron Nagel, Richard Shaw, and others. There is also a discussion with his wife Magdalena including such topics as her childhood in an orphanage in Caracas, Venezuela, where she began painting; her studies in Chile with artists Sewell Semen, Norman Calber, and Paul Harris; her scholarship to the Clay Art Center in Port Chester, N.Y., in 1963; meeting Michael at the Clay Art Center and their relationship; their financial difficulties; setting up joint studio in which he threw pots and she glazed them; Michael's lack of participation in the craft community; and the state of his health.

Magdalena Frimkess also provided another informed perspective on the events described by her husband.

Biographical / Historical:

Michael Frimkess (1937- ) is a ceramist from Venice, California. Magdalena Frimkess is a ceramist from Venice, California. Paul J. Karlstrom is the director of the West Coast Resource Center, Archives of American Art, San Marino, California. Michael Frimkess was a leading innovator of the California fine art clay movement that grew up around Peter Voulkos and his "pot shop" at the Otis Art Institute. An element that distinguished the vessels that made Michael Frimkess's reputation was the surface decoration based on popular culture and a Pop Art sensibility. This signature style, consisting of small figures mimicking classical or pre-Columbian friezes, was further developed by Frimkess's wife Magdalena (Suarez Frimkess) who eventually, as Michael's multiple sclerosis progressed, did most of the painting of the vessels.

Magdalena was born in Venezuela and was sent to an orphanage at age 7, when her mother died and her father was unable to support her. Later she moved to Chile where her two children were born. When she was offered a fellowship to the Clay Art Center in New York her companion told her she would have to choose between that and him and the children. She reluctantly chose art, but kept up with her offspring who eventually moved to California. Her sculpture career was to a large extent subsumed after she met and married Michael Frimkess.

General:

Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 2 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Topic:

Art -- Study and teaching -- Chile  Search this

Potters -- California -- Interviews  Search this

Ceramicists -- California -- Interviews  Search this

Decorative arts  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.frimke01

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b4f4424-8f3e-433d-a868-3150ad81b171

EDAN-URL:

ead_collection:sova-aaa-frimke01

Creator:

Lippard, Lucy R.  Search this

Names:

Addison Gallery of American Art  Search this

Alliance for Cultural Democracy  Search this

Art Workers Coalition  Search this

Heresies Collective, Inc.  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Political Art Documentation/Distribution (Organization)  Search this

Printed Matter, Inc.  Search this

Studio International (Firm)  Search this

University of Colorado -- Faculty  Search this

Women's Caucus for Art  Search this

Andre, Carl, 1935-  Search this

Chicago, Judy, 1939-  Search this

Darboven, Hanne  Search this

Edelson, Mary Beth  Search this

Hammond, Harmony  Search this

Henes, Donna  Search this

Johnson, Ray, 1927-  Search this

Judd, Donald, 1928-  Search this

LeWitt, Sol, 1928-2007  Search this

Pearson, Henry, 1914-2006  Search this

Stevens, May  Search this

Extent:

70.5 Linear feet

0.454 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Interviews

Photographs

Date:

1930s-2010

bulk 1960-1990

Summary:

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.

Scope and Contents:

The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

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

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

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

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

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

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

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.

Arrangement:

The collection is arranged as nine series:

Missing Title

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

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

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

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

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

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

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

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)

Biographical / Historical:

New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

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

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

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

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

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

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.

Provenance:

Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015 and 2021.

Restrictions:

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

Rights:

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

Occupation:

Curators -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Art critics -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Artists -- Political activity  Search this

Art criticism  Search this

Feminism and art  Search this

Women authors  Search this

Women art critics  Search this

Art, Modern -- 20th century  Search this

Conceptual art  Search this

Minimal art  Search this

Women museum curators  Search this

Women educators  Search this

Genre/Form:

Sound recordings

Interviews

Photographs

Citation:

Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.lipplucy

See more items in:

Lucy R. Lippard papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed

EDAN-URL:

ead_collection:sova-aaa-lipplucy

Interviewee:

Lippard, Lucy R.  Search this

Interviewer:

Heinemann, Sue  Search this

Names:

Art Workers Coalition  Search this

Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this

Guerilla Art Action Group  Search this

Heresies Collective, Inc.  Search this

Heresies Collective, Inc.  Search this

Museum of Modern Art (New York, N.Y.) -- Employees  Search this

Political Art Documentation/Distribution (Organization)  Search this

Smith College -- Students  Search this

Ashton, Dore  Search this

Chicago, Judy, 1939-  Search this

Hammond, Harmony  Search this

Judd, Donald, 1928-1994  Search this

LeWitt, Sol, 1928-2007  Search this

Miss, Mary, 1944-  Search this

Reinhardt, Ad, 1913-1967  Search this

Ryman, Robert, 1930-2019  Search this

Schneemann, Carolee, 1939-  Search this

Sholette, Gregory  Search this

Stevens, May  Search this

Extent:

4 Items (memory cards (4 hr., 29 min.), secure digital, wav, 1.25 in.)

97 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2011 Mar. 15

Scope and Contents:

An interview with Lucy Lippard conducted 2011 Mar. 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Lippard's home, in Galisteo, N.M.

Lippard discusses her childhood summers in Maine; growing up in New Orleans, La., and Charlottesville, Va.; attending the Abbot Academy and Smith College; her junior year in Paris; working in the Museum of Modern Art Library; living on Avenue D; meeting Bob Ryman and Sol Lewitt; birth of her son Ethan; Dore Ashton as a role model; involvement with various groups and political causes including the Angry Arts movement, the Art Workers' Coalition, Women Artists' Committee, Guerilla Art Action Group, Womanhouse, Political Art Documentation and Distribution (PAD/D), the Ad Hoc Women Artists Committee, and others; the development of Heresies Collective; her publications including, "From the Center: Feminist Essays on Women's Art," (1976), "On the Beaten Track: Tourism, Art and Place," (1999), "Mixed Blessings: New Art in a Multicultural America," (1990, 2000), "The Lure of the Local: Sense of Place in a Multicentered Society," (1997), and "Overlay: Contemporary Art and the Art of Prehistory," (1983) ; curating exhibitions; travels to Argentina and Mexico; moving to Galisteo, N.M.; interest in the Galisteo Basin; teaching; and other topics. She recalls Ad Reinhardt, Donald Judd, Harmony Hammond, Judy Chicago, Gregory Sholette, Carolee Schneemann, Max Koszloff, Joyce Koszloff, May Stevens, Betsy Hess, Mary Miss, and others.

Biographical / Historical:

Lucy R. Lippard (1937- ) is a writer and art critic in New York, N.Y. and Galisteo, N.M.

General:

Originally recorded on Edirol R-09HR on 4 secure digital memory cards. Duration is 4 hr., 29 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.

Occupation:

Curators -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Art critics -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Art criticism  Search this

Feminism and art  Search this

Women authors  Search this

Women art critics  Search this

Women museum curators  Search this

Women educators  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview is part of the Elizabeth Murray Oral History of Women in the Visual Arts Project, funded by the A G Foundation.

Identifier:

AAA.lippar11

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b83cc211-01df-48fa-bb27-fb6ea7cd8d42

EDAN-URL:

ead_collection:sova-aaa-lippar11

Creator:

Fisch, Arline M.  Search this

Names:

American Craftsmen's Council  Search this

Boston University  Search this

Electrum (Gallery : London, England)  Search this

Internationale Handwerksmesse  Search this

Lee Nordness Galleries  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

National Endowment for the Arts  Search this

San Diego State University -- Faculty  Search this

Skidmore College  Search this

Society of North American Goldsmiths  Search this

World Crafts Council  Search this

Antunes, Edith  Search this

Extent:

9.8 Linear feet

3.82 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Video recordings

Date:

1931-2015

Summary:

The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and digital and photographic materials.

Scope and Contents:

The papers of metalsmith, jeweler, and educator Arline M. Fisch measure 9.8 linear feet and 3.82 GB and date from 1931 to 2015. The papers include awards and certificates, correspondence, exhibition and gallery files, project files, San Diego State University teaching files, membership records, and printed and and digital photographic materials.

Awards and certificates are from the Indonesian National Crafts Council, Internationale Handwerksmesse Munchen, San Diego State University, State of California, and other organizations. Correspondence is with Edith Antunes, Skidmore College and other educational institutions, as well as galleries, students, and colleagues. Files for exhibitions consist of inventory and price lists, loan and shipping records, printed material, correspondence, a digital disk, and a video recording for Elegant Fantasy: The Jewelry of Arline Fisch (2000), The Art of Arline Fisch (2003), Arline Fisch: Creatures from the Deep (2008), and various exhibitions.

Gallery files contain business records for Atrium, Electrum Gallery, Lee Nordness Galleries, and galleries in Germany and Switzerland. Project files include records for an advertising campaign, articles and lectures, Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists, a cataloging project, commercial ventures, curriculum development at Boston University, NEA and Fulbright grant projects, an artwork installation, an oral history project, a seminar, and workshops.

San Diego State University teaching files include correspondence, evaluations, exhibition material, grant programs and projects, university programs, recommendations, and sabbatical records. Membership records are for the American Craftsmen's Council (ACC), Society of North American Goldsmiths (SNAG), and World Crafts Council (WCC).

Printed materials consist of booklets, a calendar, clippings, exhibition announcements and catalogs, periodicals and posters, and chronological files. Photographic materials are of Fisch, her family, travel, her studio, with colleagues and in class, and works of art. A detailed archive of Fisch's work on slides and in digital format is also included.

Arrangement:

The collection is arranged as nine series.

Series 1: Awards and Certificates, 1961-2001 (0.3 linear feet; Boxes 1, 11)

Series 2: Correspondence, 1956-2003 (0.8 linear feet; Box 1)

Series 3: Exhibition Files, 1957-2010 (1.0 linear feet; Boxes 1-2)

Series 4: Gallery Files, 1968-2010 (0.5 linear feet; Boxes 2-3)

Series 5: Project Files, 1956-2010 (1.4 linear feet; Boxes 3-4, 11)

Series 6: San Diego State University, 1955-2014 (1.0 linear feet; Boxes 4-5)

Series 7: Membership Records, 1964-1994 (1.0 linear feet; Boxes 5-6)

Series 8: Printed Materials, circa 1960-2015 (3.3 linear feet; Boxes 6-9, 11, OV 12)

Series 9: Photographic Materials, 1931-circa 2005 (0.5 linear feet; Boxes 9-11, 3.82 GB; ER01)

Biographical / Historical:

Arline M. Fisch (1931- ) is a metalsmith, jeweler, and educator in San Diego, California.

Fisch was born in Brooklyn, New York. She studied art education at Skidmore College and earned a master of arts degree from the University of Illinois. From 1956 to 1957 she studied at the School of Arts and Crafts in Copenhagen Denmark, and she returned to Denmark in 1966 under a Fulbright Research Grant. She also received Fulbright and NEA grants for multiple projects in Uruguay, Austria, and the U.S.

From 1954 to 1961, she taught at Wheaton College and Skidmore College. Fisch began teaching at San Diego State University (SDSU) in 1961 where she developed the Jewelry and Metalsmithing program. She retired from SDSU in 2000.

Fisch was a member of the American Craft Council (ACC), Haystack Mountain School of Crafts' Board of Trustees, and was vice president of the World Crafts Council (WCC) from 1976 to 1981. She was a founding member of Society of North American Goldsmiths (SNAG) and was president of the organization from 1982 to 1985.

Fisch has received numerous awards and honors for her accomplishments in craftsmanship including an honorary doctorate degree from Skidmore College, United States Artists fellowship award, and Fresno Art Museum Council of 100 Distinguished Woman Artist award in 2012. Fisch has exhibited her work all over the world including her solo retrospective exhibition titled, Elegant Fantasy: The Jewelry of Arline Fisch, which was shown in San Diego, Oakland, New York, and Washington, D.C.

Related Materials:

Also at the Archives of American Art is an interview of Arline M. Fisch conducted July 29-30, 2001 by Sharon Church McNabb, for the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Fisch's home, in San Diego, California.

Provenance:

The papers were donated from 2003 to 2018 by Arline M. Fisch as a part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Rights:

Arline M. Fisch retains copyright for the manuscript for the 2nd edition of her book Textile Techniques in Metal for Jewelers, Sculptors, and Textile Artists (New York: Van Nostrand Reinhold, c. 1975) and notes for the first edition.

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

Occupation:

Metal-workers -- California -- San Diego  Search this

Jewelers -- California -- San Diego  Search this

Educators -- California -- San Diego  Search this

Topic:

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

Decorative arts  Search this

Women artists  Search this

Women educators  Search this

Genre/Form:

Photographs

Video recordings

Citation:

Arline M. Fisch papers, 1931-2015. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.fiscarli

See more items in:

Arline M. Fisch papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95c7c5f3b-37ad-44ab-9740-558f8fc327f7

EDAN-URL:

ead_collection:sova-aaa-fiscarli

Creator:

Ryan, Paul, 1943-  Search this

Names:

Dalton School (New York, N.Y.)  Search this

Earth Environmental Group  Search this

Earthscore Foundation  Search this

Gaia Institute  Search this

New School for Social Research (New York, N.Y.)  Search this

Raindance Corporation  Search this

Savannah College of Art and Design  Search this

Anderson, Myrdene, 1934-  Search this

Berg, Peter, 1937-2011  Search this

Berman, Morris  Search this

Berry, Thomas, 1914-2009  Search this

Bianchi, Lois  Search this

Bijvoet, Marga, 1948-  Search this

Dunn, David  Search this

Johnson, Avery  Search this

Kevelson, Roberta  Search this

Lansing, Gerrit  Search this

Lira, Aldo  Search this

Lord, Chip  Search this

Lowenstein, Oliver  Search this

Ponsol, Claude  Search this

Procter, Jody, 1943-1998  Search this

Robbins, Al  Search this

Segura, Phyllis Gershuny  Search this

Shamberg, Michael  Search this

Sibert, Jodi  Search this

Sturken, Marita, 1957-  Search this

Zerella, Lida  Search this

Extent:

19.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Prints

Illustrations

Video recordings

Writings

Date:

1931-2009

Summary:

The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.

Scope and Contents:

The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.

Biographical materials include family papers, early correspondence among Ryan family members, school records, selective service records, photographs of Paul Ryan, and career documentation such as résumés, CVs, recommendation letters, and narratives written by Ryan describing his career. Records related to Ryan's time in the seminary and monastery include letters home during this period, and his letter of resignation from 1965.

Correspondence is mainly professional in nature, and spans Ryan's career. Correspondence between Ryan and family members is also found. Professional correspondence is found with Myrdene Anderson, Peter Berg of Planet Drum, Morris Berman, Avery Johnson, Marga Bijvoet, Thomas Berry, Lois Bianchi, David Dunn, Roberta Kevelson, Gerrit Lansing, Aldo Lira, Oliver Lowenstein, Chip Lord, Claude Ponsol, Jody Procter, Jodi Sibert, Phyllis Gershuny Segura, Michael Shamberg, and Marita Sturken. Corporate correspondence is found regarding job applications, manuscript submissions to publishers, and video submissions to museums and broadcasters.

Writings include mainly articles and notebooks by Ryan, but also drafts of books, lectures, poetry, short stories, a treatment for a television show, and writings by others in various genres. Most of Ryan's prose writing is theoretical in nature, although personal writings and notes from projects are also found. Articles include both published and unpublished writings, with some published multiple times under different titles. Over one hundred notebooks spanning forty years contain a variety of content including drafts of letters, articles, grant proposals, lectures, and other writings. Ryan's two major publications, Cybernetics of the Sacred and Video Mind, Earth Mind, are documented with drafts, contracts, correspondence with publishers, layout documents, and notes.

Organizational records include writings, correspondence, printed material, financial records, grant proposals, and other records concerning various organizations, collectives, and companies in which Ryan participated, mostly having to do with environmental advocacy, video production, or a combination of the two. Organizations with substantial records in this series include the Earth Environmental Group, the Earthscore Foundation, Environment '89 (and '90, '91, and '92), the Gaia Institute, and the Raindance Corporation, among others. Documentation is most comprehensive for The Earthscore Foundation, including by-laws, grant proposals, extensive writings, financial records, and printed materials.

Project files contain video recordings, production notes, photographs, proposals, correspondence, a computer program designed by Ryan, prints for exhibition, illustrations and designs, posters, circulars, contracts, and scripts. Many of the projects documented in this series relate to Ryan's many explorations of the use of video to monitor and interpret two seemingly different subjects, environmental change and human behavior in relationships, expressed through a ritual of interaction among three persons designed by Ryan and called "Threeing," or "Triadic Behavior." The most thoroughly documented projects in this series include "Nature in New York City," "New York City Eco-Channel for Sustainable Television (NEST)," Talking Wood (a publication that incorporated the project "Watershed Watch"), "Inventing Triadic Behavior" (also known as the "Triadic Tapes"), "Tethys"(with artist Bob Schuler), and "Video Wake for my Father," a performance for video that saw many iterations, including a private performance, a public performance, an edited video program, and a published script.

Video recordings are found for three projects, including "Nature in New York City," "Inventing Triadic Behavior," and a threeing workshop held at the Kitchen entitled "Video Variations on Holy Week." A printout of records in a videotape database kept by Ryan is found in this series, with a proposal for video preservation; the list of tapes includes those found in the collection as well as tapes not extant.

Teaching files include documentation of Ryan's work at Dalton School, Hudson School, the New School for Social Research, and Savannah College of Art and Design, and many other workshops and training programs Ryan taught. Included are grade books, correspondence, curricula, training materials, and reports. Two of his programs, the Black Rock Rangers at the Dalton School, and the Urban Conservation Corps Pilot Video Program involve the implementation of the Earthscore Notational System in school curricula.

Printed material includes books, newspaper clippings, conference programs and published proceedings, exhibition catalogs and announcements, film and video programs, flyers, periodicals, poetry publications, posters, and materials relating to the artist Al Robbins, which includes an obituary written by Ryan. Also found are publications of the Raindance Corporation, which include the book, Guerrilla Television (1971), and four issues of their magazine, Radical Software (1971-1972). Most of the printed material was either written by Paul Ryan, contains articles by Paul Ryan, or documents activities of Paul Ryan. Other materials found contain works by Ryan's associates and collaborators.

Artwork contains artists' books, doodles, illustrations, prints, and photographs by named and unnamed artists. None of the artwork in this series appears to be by Ryan. Notable is an artist's book entitled "Patterns" by Lida Zerella, which incorporates still images from Ryan's Triadic Tapes in a small album. Two illustrations are found by Claude Ponsot, who also illustrated many of Ryan's publications relating to Kleinform and threeing.

Arrangement:

This collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1931-2003 (0.8 linear feet; Boxes 1, 20)

Series 2: Correspondence, 1965-2007 (2 linear feet; Boxes 1-3)

Series 3: Writings, 1955-2001 (6.8 linear feet; Boxes 3-10, 20)

Series 4: Organizational Records, 1968-1996 (1.2 linear feet; Boxes 10-11, 20, OV 21)

Series 5: Project Files, 1968-2008 (6.5 linear feet; Boxes 11-17, 20, OV 21-22, 24, RD 26)

Series 6: Teaching Files, 1967-2008 (0.7 linear feet; Box 17)

Series 7: Printed Materials, 1968-2009 (1.6 linear feet; Boxes 18-20, OV 23, 25)

Series 8: Artwork, 1965-2003 (0.1 linear feet; Boxes 19-20, OV 22)

Biographical / Historical:

Paul Ryan was a pioneering video artist, writer, teacher, and theoretician based in New York City and the Hudson Valley of New York State. Born in 1943, Ryan spent his early adulthood as a seminarian and later a member of the Roman Catholic order of Passionist monks, which he left in 1965. He eventually received a B.A. from New York University. During the Vietnam War, Ryan received conscientious objector status and studied with Marshall McLuhan at Fordham University as alternative service. It was McLuhan's influence that led Ryan to begin to explore the possibilities of the medium of video.

In 1969, Ryan participated in the landmark exhibition "TV as a Creative Medium" curated by Howard Wise, which served to link the kinetic art movement of the 1960s with the emergent medium of video art. The first exhibition in the United States devoted to video, "TV as a Creative Medium" signaled radical changes and defined an emerging artistic movement. In 1969 Ryan co-founded the Raindance Corporation along with Ira Schneider, Michael Shamberg, David Cort, Beryl Korot, Phyllis Gershuny, and others. Raindance was an influential media collective that proposed radical theories and philosophies of video as an alternative form of cultural communication. Influenced by the communications theories of Marshall McLuhan and Buckminster Fuller, the collective produced tapes and writings that explored the relation of cybernetics, media, and ecology. From 1970-1974, Raindance published the seminal video journal Radical Software, which provided a network of communications for the fledgling alternative video movement. In 1971, Shamberg published Guerrilla Television, a summary of the group's principles and a blueprint for a decentralization of television through access to public and cable programming. The original Raindance collective dispersed in the mid-1970s; the nonprofit Raindance Foundation continued into the 1990s. Ryan's core writings from the Raindance era were gathered into his 1973 publication Birth and Death and Cybernation, republished in 1974 as Cybernetics of the Sacred.

Ryan's work to develop alternative uses of video technology continued long after his involvement with Raindance. He began to implement his theories about the use of video monitoring and feedback within dynamic systems with the work that came to be known as the Earthscore Notational System. With Steve Kolpan and Bob Schuler, he founded the Earthscore Foundation, through which he raised money for the exploration and development of this applied practice. Earthscore, based largely on the writings of philosopher Charles Sanders Pierce and Gregory Bateson's work on cybernetics, provided the theoretical and logical underpinnings of both the ecosystem documentation and interpretation process, and the triadic rituals of interpersonal behavior, that became the core of Ryan's work for much of his life. These ideas were implemented in a wide variety of projects such as eco-channel design, video scores specific to certain locations, threeing projects exploring interpersonal behavior with video and computer technology, and a curriculum for combining media production training with environmental education.

Ryan later worked with organizations such as Talking Wood, The Earth Environmental Group, and Environment '89, (re-named in later years Environment '90, '91, and '92) to implement Earthscore systems and prototypes. He co-founded The Gaia Institute, hosted at Cathedral of St. John the Divine, and co-directed it from 1985-1991. The Institute fostered dialogs between science, religion, and art through workshops, lectures, exhibitions and events. He was an artist-in-residence for Earth Environmental Group in 1988 via a grant from the New York State Council on the Arts, and used the residency to carry out his video project "Nature in New York City," documenting city ecosystems and demonstrating how an eco-channel might work. Environment '89 organized a coordinated campaign for a cable channel devoted to the environment, the New York City Eco-channel for a Sustainable Tomorrow (NEST).

Ryan spent his later years as a professor of media production and theory at Savannah College of Art and Design, and then at the New School for Social Research. His work has been exhibited widely in the United States, including "The Primitivism Show" in The Museum of Modern Art (1984), "The American Century Show" at the Whitney Museum of American Art (1999-2000), and the Venice Biennale (2002). He died in 2013.

Provenance:

The papers of Paul Ryan were donated to the Archives of American Art by Ryan in 2008.

Restrictions:

Use of original papers and archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

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

Occupation:

Video artists -- New York (State) -- New York  Search this

Topic:

Art -- Study and teaching  Search this

Monasticism and religious orders  Search this

Genre/Form:

Photographs

Prints

Illustrations

Video recordings

Writings

Citation:

Paul Ryan papers, 1931-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.ryanpaul

See more items in:

Paul Ryan papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw989287f33-5086-40f3-bd04-a4e270afabb3

EDAN-URL:

ead_collection:sova-aaa-ryanpaul

Artist:

Hinton, Sam, 1917-2009  Search this

Ritchie, Jean  Search this

Summers, Andrew Rowan  Search this

Seeger, Mike, 1933-2009  Search this

Seeger, Charles, 1886-1979  Search this

Jarrett, Merrick  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound recording (sound-tape reel, analog, 7 in.)

Culture:

Americans  Search this

Type:

Archival materials

Sound recordings

Place:

California

United States

Berkeley (Calif.)

Contents:

Discussion about changing folk songs

Local Numbers:

FW-ASCH-7RR-1844

General:

CDR copy Tape Info: The following tapes were recorded at the 1962 University of California - Berkeley Folk Festival. Many other tapes in the CFCH Archives were recorded at the same festival. FW-ASCH-7RR-1844 is reel 3 of Workshop #5, recorded on 6/29, 1962. Reels no. 1 of and 2 of the same workshop are contained on FW-ASCH-7RR-1837 and -1841. Reel 3 includes Dr. Charles Seeger, Mike Seeger, Andrew Rowan Summers, Jean Ritchie, Sam Hinton, and, from the audience, Malvina Reynolds and Merritt Herring. It contains a spirited, spontaneous, free-ranging discussion on the characteristics of folk and popular music and their interactions, often focusing on change, whether within a tradition, within popular music (subject to more rapid change), or across genre lines and over time. Legitimacy of a modern singer changing or composing a "folk song" is discussed. In passing, the following are considered: John Jacob Niles, Marian Anderson, Rodgers and Hammerstein, rock and roll, jazz, improvisation, etc.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk songs -- United States  Search this

Folksong revival  Search this

Folklore -- Study and teaching  Search this

Folksong revival  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-7RR-1844

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5fe87677e-b5f2-4eea-b34e-d7be7d738ba8

EDAN-URL:

ead_component:sova-cfch-asch-ref20265

Artist:

Seeger, Charles, 1886-1979  Search this

Hinton, Sam, 1917-2009  Search this

Herring, Merritt, 1933-2004  Search this

Summers, Andrew Rowan  Search this

Cohen, John, 1932-2019  Search this

Redpath, Jean  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound recording (sound-tape reel, analog, 7 in.)

Culture:

Americans  Search this

Type:

Archival materials

Sound recordings

Place:

California

United States

Berkeley (Calif.)

Contents:

Workshop on the City Folksinger--Where does he start

Local Numbers:

FW-ASCH-7RR-4036

General:

CDR copy FW-ASCH-7RR-4036 is Workshop 7, reel no. 1, recorded 6/30/1962. The Workshop is entitled: The City Folksinger - Where Does He Start? The moderator is Merritt Herring. Participants include Dr. Charles Seeger, Andrew Rowan Summers, Jean Redpath, and John Cohen. Andrew Rowan Summers presents an extended and interesting narrative about his early years in Virginia and how he experienced and began performing folk music. Jean Redpath also describes her early years in relation to music. Dr. Charles Seeger, father of Pete Seeger, asks pertinent questions and provides some commentary. Tape box indicates "Sam" (presumably Sam Hinton, who is on other tapes at the Festival) is present, but, if so, I don't know that he speaks. There are no musical examples or excerpts presented on this tape.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folksong revival  Search this

Folk songs -- United States  Search this

Folklore -- Study and teaching  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-7RR-4036

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5785a9cfc-41dd-4b63-b1d1-f094bd0fb756

EDAN-URL:

ead_component:sova-cfch-asch-ref25474

Artist:

Seeger, Charles, 1886-1979  Search this

Hinton, Sam, 1917-2009  Search this

Redpath, Jean  Search this

Summers, Andrew Rowan  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound recording (sound-tape reel, analog, 7 in.)

Culture:

Americans  Search this

Type:

Archival materials

Sound recordings

Place:

Berkeley (Calif.)

California

United States

Contents:

Workshop on the city folksinger

Local Numbers:

FW-ASCH-7RR-4044

Date/Time and Place of an Event Note:

Recorded in: United States, California, Berkeley (Calif.), June 30, 1962.

General:

CDR copy FW-ASCH-7RR-4044 is the 3rd of three tapes recording a workshop (no. 7) recorded 6/30/1962. The Workshop is entitled: The City Folksinger - Where Does He Start? The moderator is Merritt Herring. Participants include Dr. Charles Seeger, Andrew Rowan Summers, Jean Redpath, and John Cohen and Sam Hinton. The other two tapes recording this workshop are FW-ASCH-7RR-4036 and FW-ASCH-7RR-4045. There are no musical examples or excerpts presented during the entire workshop.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folksong revival  Search this

Folk songs -- United States  Search this

Folklore -- Study and teaching  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-7RR-4044

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5611c44df-bb64-445d-940d-0edd8d7fc25b

EDAN-URL:

ead_component:sova-cfch-asch-ref25482

Artist:

Seeger, Charles, 1886-1979  Search this

Hinton, Sam, 1917-2009  Search this

Redpath, Jean  Search this

Summers, Andrew Rowan  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound recording (sound-tape reel, analog, 7 in.)

Culture:

Americans  Search this

Type:

Archival materials

Sound recordings

Place:

Berkeley (Calif.)

California

United States

Contents:

What is a city folksinger

Local Numbers:

FW-ASCH-7RR-4045

Date/Time and Place of an Event Note:

Recorded in: United States, California, Berkeley (Calif.), June 30, 1962.

General:

CDR copy Tape Info: The following tapes were recorded at the 1962 University of California - Berkeley Folk Festival. FW-ASCH-7RR-4045 is one of three tapes recording a workshop (no. 7) recorded 6/30/1962. The Workshop is entitled: The City Folksinger - Where Does He Start? The moderator is Merritt Herring. Participants include Dr. Charles Seeger, Andrew Rowan Summers, Jean Redpath, and John Cohen and Sam Hinton. The other two tapes recording this workshop are FW-ASCH-7RR-4036 and FW-ASCH-7RR-4044. There are no musical examples or excerpts presented during the entire workshop.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folksong revival  Search this

Folk songs -- United States  Search this

Folklore -- Study and teaching  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FW-ASCH-7RR-4045

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk573f2d1d4-a3ab-4d0f-9e9b-1c7278770b7f

EDAN-URL:

ead_component:sova-cfch-asch-ref25483

Performer:

Asch, Moses  Search this

Collection Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Extent:

1 Sound cassette (analog.)

Type:

Archival materials

Sound cassettes

Place:

United States

Washington (D.C.)

Local Numbers:

FP-1991-CT-0035

Date/Time and Place of an Event Note:

Recorded in: Washington (D.C.), United States, 1956.

Restrictions:

Restrictions on access. No duplication allowed listening and viewing for research purposes only.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Lectures and lecturing  Search this

Folklore -- Study and teaching  Search this

Collection Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH, Item FP-1991-CT-0035

See more items in:

Moses and Frances Asch Collection

Moses and Frances Asch Collection / Series 9: Audio Recordings / CT

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk576bd1d3c-24e4-4ff3-9c66-f5d52f7c4f90

EDAN-URL:

ead_component:sova-cfch-asch-ref28730

Creator:

De Creeft, José, 1884-1982  Search this

Names:

Art Students League (New York, N.Y.) -- Faculty  Search this

Black Mountain College (Black Mountain, N.C.) -- Faculty  Search this

New School for Social Research (New York, N.Y.) -- Faculty  Search this

Norton Gallery and School of Art  Search this

Skowhegan School of Painting and Sculpture -- Faculty  Search this

Albers, Josef -- Photographs  Search this

Calder, Alexander, 1898-1976  Search this

Calder, Alexander, 1898-1976 -- Photographs  Search this

Campos, Jules  Search this

De Creeft, William  Search this

De Diego, Julio, 1900- -- Photographs  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Diederich, William Hunt, 1884-1953  Search this

Dodd, Lamar  Search this

Escuder, Joseph  Search this

Gropius, Walter, 1883-1969 -- Photographs  Search this

Gross, Chaim, 1904-1991 -- Photographs  Search this

Gómez Gil, Alfredo, 1936-  Search this

Lawrence, Gertrude -- Photographs  Search this

Lipchitz, Jacques, 1891-1973  Search this

Lipchitz, Jacques, 1891-1973 -- Photographs  Search this

Neumann, J. B. (Jsrael Ber) -- Photographs  Search this

Nivola, Costantino, 1911-1988  Search this

Rattner, Abraham -- Photographs  Search this

Roszak, Theodore, 1907-1981 -- Photographs  Search this

Soyer, Raphael, 1899-1987 -- Photographs  Search this

Sweeney, James Johnson, 1900-  Search this

Zorach, William, 1887-1966 -- Photographs  Search this

Extent:

28.1 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sound recordings

Video recordings

Diaries

Interviews

Scrapbooks

Sketches

Date:

1871-2004, bulk 1910s-1980s

bulk 1910-1990

Summary:

The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.

Scope and Contents:

The papers of Spanish-born sculptor and educator José de Creeft measure 28.1 linear feet and date from 1871 to 2004 with the bulk of the material dating from the 1910s to the 1980s. Found are biographical materials, correspondence, fifty diaries, writings, subject files, personal business records, printed materials, twenty-seven photo albums and other photographs, scrapbooks, and scattered sketches.

Biographical materials include address books, awards, recorded interviews with and about de Creeft, membership materials, naturalization records, resumes, and travel documents.

Correspondence is primarily professional in nature and concerns exhibitions, de Creeft's involvement in arts organizations, and awards. There are also scattered personal letters from family and friends. Correspondents include Alexander Calder, Nina, Alice, Barbara and William de Creeft, Hunt Diederich, Joseph Escudar, and Gil Gomez, Jacques Lipchitz, Edwin Dickinson, James Johnson Sweeney, Costantino Nivola, Abraham Rattner, and Lamar Dodd, among others.

De Creeft's fifty diaries are nearly complete for the period dating from 1926 to 1981. Some are bound volumes and others are loose pages. The bulk of the diaries are in Spanish and many include sketches. Additional writings, called "escritos varios" by José de Creeft, are mostly in Spanish and consist of typed manuscripts and essays, including "Roosty Was My Friend, 1957, notebooks, an artist's statement, and writings by others, including drafts for The Sculpture of de Creeft by Jules Campos, and a video recording entitled José de Creeft by Bob Hanson. There is one sound recording of Lorrie Goulet reading poetry.

Subject files are varied and include files on de Creeft's teaching positions at the New School for Social Research, Black Mountain College, Skowhegan School of Painting and Sculpture, and the Art Students League. There are files for some of his sculpture projects, inlcuding Alice in Wonderland, Poet, and a proposed model for the Stone Mountain Confederate Memorial in Georgia, as well as compiled information about various art related topics of interest.

De Creeft's business records include appraisals, contracts, leases, price lists, and scattered receipts. Also found are art inventories in the form of three sets of index cards, some of which include photographs.

Printed materials include books, clippings, exhibition announcements and catalogs, exhibition labels, postcards, and posters.

There are loose photographs and twenty-seven photograph albums depicting de Creeft, his family, friends, and works of art. There are photos of Alexander Calder; de Creeft and Goulet with Raphael Soyer, posing with Soyer's portrait of them; Gertrude Lawrence; art juries, which also include images of Chaim Gross, Jacques Lipchitz, Theodore Roszak, and William Zorach; students, friends, and faculties of Black Mountain College, the Art Students League, Skowhegan School of Painting and Sculpture, and the Norton School of Art, which also includes images of Joseph Albers, Alexander Calder, Julio De Diego, Walter Gropius, J. B. Neumann, and Abraham Rattner.

Seven mixed media scrapbooks document de Creeft's career from 1929 to 1982. Also found are scattered pen and pencil sketches and one sketchbook dating from the 1920s.

Arrangement:

The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Material, 1914-1979 (Boxes 1, 27; 0.9 linear feet)

Series 2: Correspondence, 1910s-1980s (Boxes 1-6; 4.2 linear feet)

Series 3: Diaries, 1926-1981 (Boxes 6-11; 5.4 linear feet)

Series 4: Writings, 1871-1977 (Boxes 11-13, 28; 2.5 linear feet)

Series 5: Subject Files, 1924-1980 (Boxes 13-16, 27; 2.4 linear feet)

Series 6: Personal Business Records, 1909-1980s (Boxes 16-17, 27; 1.0 linear feet)

Series 7: Printed Material, 1921-1980s (Boxes 17-21, 27, 33; 4.7 linear feet)

Series 8: Photographs, 1900-2004 (Boxes 21-25, 29, 31; 5.1 linear feet)

Series 9: Scrapbooks, 1929-1982 (Box 26, 30, 32; 1.8 linear feet)

Series 10: Artwork, 1920s-1930s (Box 26; 2 folders)

Biographical / Historical:

José de Creeft (1908-1982) was a Spanish-born sculptor active in New York City, New York.

José de Creeft was born in Guadalajara, Spain and raised in Barcelona. In 1900, he apprenticed to sculptor Don Augustine Querol and studied drawing with Idalgo de Caviedas. De Creeft moved to Paris in 1905 and began formal art training at the Académie Julianand. He also took a studio in the Batteau Lavoir in Montmartre, where he interacted with Pablo Picasso, Juan Gris, Manolo, and Pablo Gargallo, all of whom also had studios there. During this period, de Creeft became friends with the artist Mateo Hernandez.

In 1915, de Creeft rejected the traditional technique of reproducing sculpture in stone from clay and plaster models and turned to direct carving in wood and stone. He was also one of the first sculptors who practiced assemblage and incorporated found objects into his work. His notable assemblage sculpture El Picador, a large figure on horseback, received worldwide press coverage and was exhibited at the Salon des Artistes Independents in 1926. Between 1919 and 1928, his work was exhibited in various Paris salons. In the late 1920s, he created 200 stone carvings for Roberto Ramonje's Forteleza (fortress) in Mallorca. It was around this time frame when de Creeft met Alexander Calder, who became his student in direct carving. De Creeft encouraged Calder to display his mechanical toys and Calder put his Circus together for the first time in de Creeft's studio.

De Creeft emigrated to the United States in 1929, right after marrying fellow sculptor Alice Robertson Carr. They divorced nine years later.

While in New York, de Creeft began sculpting with lead sheets beaten into three-dimensional forms and established a studio at 1 Washington Square. His first solo exhibition was at the Ferargil Galleries in New York City and included The Portrait of Cesar Vallejo in chased lead and The Silver Fox of found materials.

In 1932, de Creeft accepted a teaching position in sculpture at the New School for Social Research. He also taught courses at Black Mountain College, where he met his second wife, sculptor Lorrie Goulet, the Art Students League, Skowhegan School of Painting and Sculpture, and the Norton Gallery and School of Art. In 1946, de Creeft and Goulet purchased a hundred-acre farm in Hoosick Falls, NY where they established a studio and part-time residence.

Perhaps De Creeft's most well-known monumental scuplture is Alice in Wonderland in Central Park, New York City. The 12' x 16' bronze was dedicated during a public event in 1959 and gave de Creeft worldwide recognition. In 1995 a short film about the making of the sculpture was produced by J. D'Alba and narrated by Lorrie Goulet.

De Creeft was as founding member of the American Artist's Congress, the Sculptors Guild, and the Artist's Equity Association. De Creeft was represented by the Georgette Passedoit Gallery from 1936 to 1949. Later, he joined The Contemporaries (gallery) and exhibited there until 1966. Kennedy Galleries represented de Creeft from 1970 until his death in 1982.

Related Materials:

The Archives of American Art also holds an interview of José De Creeft conducted October 1-8, 1968 by Forrest Selvig and the papers of de Creeft's wife Lorrie Goulet.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reels D150 and 375-378). While most of the items were included in subsequent gifts, material not donated to the Archives remain with the lender and are not described in the collection container inventory.

Provenance:

The José de Creeft papers were first lent for microfilming by the artist in 1963 and 1972. Lorrie Goulet, José de Creeft's widow, donated most of this material along with additional items in 1985 and 2009.

Restrictions:

Use of original papers requires an appointment. 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:

Art -- Study and teaching  Search this

Educators -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Sculpture, Modern -- New York (State) -- New York  Search this

Stone Mountain Memorial (Ga.)  Search this

Genre/Form:

Photographs

Sound recordings

Video recordings

Diaries

Interviews

Scrapbooks

Sketches

Citation:

José de Creeft papers, 1871-2004, bulk 1910s-1980s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.decrjose

See more items in:

José de Creeft papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bbb83529-c881-4ef2-b3f3-7919c41b1404

EDAN-URL:

ead_collection:sova-aaa-decrjose