The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.
Scope and Contents:
The papers of sculptors Jud Fine and Barbara McCarren measure 16.7 linear feet and 0.345 Gigabytes, and date from circa 1968-2009. The majority of the collection falls into project files, with other series including correspondence, writings, personal business, printed material, photographic material, and artwork.
Correspondence is mostly professional in nature and is largely from Jud Fine's early career in the late sixties through the 1970s. There is also come McCarren/Fine correspondence starting in the 1990s as well as some correspondence regarding Barbara McCarren's solo career.
The writings series is comprised primarily of Jud Fine's writing practice associated with his earlier career, including notes and journal entries, lectures by Fine, as well as manuscripts for catalog essays and artist publications, an interview from 1984, and writings on Fine by others.
The personal business series includes exhibition files as well as gallery files containing sale and consignment paperwork, as well as daily business of the studio, primarily pertaining to Jud Fine's earlier career, with some documents pertaining to Barbara McCarren's solo career from the 1990s on.
Project files document various public art works and commissions taken on or applied for by McCarren/Fine, as well as solo projects that date before and after their formal collaboration in 1996. These documents include correspondence, contracts, reports, meeting minutes, renderings and other plans, notes, photographic material and research material, some of which is in digital formats.
Printed material includes various promotional materials for McCarren/Fine and solo projects for Barbara McCarren and Jud Fine, as well as a graphic design magazine publication, and a monographic catalog for a Jud Fine exhibition from 1974.
Photographic material includes miscellaneous snapshots and snapshot albums, some of Fine and McCarren, in the studio and with artist friends, as well as an untitled album with study images of a strelitzia plant.
Artwork includes a single, unsigned painted work on canvas that has been cut awat from the frame or support.
Arrangement:
The collection is arranged as seven series:
Series 1: Correspondence, circa 1970-2001 (0.5 Linear feet: Box 1)
Series 2: Writings, circa 1968-2003 (0.5 Linear feet: Box 1)
Series 3: Personal Business, circa 1969-2001 (1 Linear foot: Box 2)
Series 4: Project Files, circa 1988-2009 (14.4 Linear feet: Boxes 2-20; Oversize 21; 0.345 Gigabytes: ER0001-ER0005)
Series 5: Printed Material, circa 1974-1992 (0.2 Linear feet: Box 16)
Series 6: Photographic Material, circa 1970s-2000 (0.1 Linear feet: Box 16)
Series 7: Artwork, circa 1980s (1 Folder: Box 16)
Biographical / Historical:
Jud Fine (1944- ) is a sculptor and educator in Venice, California, as well as former director of the University of Southern California Roski School of Fine Arts. Jud Fine is married to fellow artist, sculptor and installation artist Barbara McCarren (1958-), born in Washington, D.C., and they maintain a studio where they work on projects and commissions both individually and collaboratively.
Born in Los Angeles, Fine received a BA in History from the University of California, Santa Barbara. With a limited artwork portfolio he was lucky enough to be accepted into the Masters of Fine Arts program at Cornell University. Fine's reputation as an artist took hold firmly in the late 1960s and early 1970s, becoming particularly well known for sculpture and mixed media drawings, which established a recognizable style and conceptual framework. He has been represented by Ronald Feldman Gallery in New York City since 1972. He has participated in solo and group exhibitions internationally at institutions including Museum of Contemporary Art, Los Angeles, Los Angeles County Museum of Art, Chicago Art Institute, Museum of Contemporary Art, Chicago, Guggenheim Museum, New York, Yale University Art Museum, Museum Stuki, Poland, University of Sidney, Power Art Institute, Australia and the Pushkin State Museum of Fine Art, Moscow. McCarren received her bachelors of arts degree at UCLA in1980 and would meet Fine during work towards her masters of fine arts at USC in 1986. After nearly a decade of pursuing solo career opportunities including public art commissions, they decided to join forces making collaborative project proposals as McCarren Fine.
As Mccarren/Fine they have executed several works including Waterline a two square block mixed use development in Huntington Beach, CA, Split Mound for the San Francisco Zoo, Mais a 23-acre interactive park in Long beach, CA, Modestopo, the civic center plaza for the City of Modesto and Stanislaus County, CA and both the Central Library and Pershing Square in downtown Los Angeles. Beyond public art commissions, their collaboration has extended to their studio practice, with collaborative exhibitions including a 2002 show in Bangkok, Thailand, that was later expanded with new work for the 2005 show, Currency, at Ronald Feldman Gallery, New York. Together McCarren/Fine have completed around thirty public work projects, and numerous studio projects.
Provenance:
Donated in 2022 by Jud Fine and Barbara McCarren.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California -- Los Angeles Search this
Educators -- California -- Los Angeles Search this
Installation artists -- California -- Los Angeles Search this
The Albert Clanton Spaulding Papers consist of correspondence, field project data, manuscripts, and teaching notes documenting his work at the University of Michigan, University of California Santa Barbara, the National Science Foundation, and field work at the Arzberger Site and Agattu.
Scope and Contents:
The Albert Clanton Spaulding Papers consist of correspondence, field project data, manuscripts, and teaching notes documenting his work at the University of Michigan, University of California Santa Barbara, the National Science Foundation, and field work at the Arzberger Site and Agattu. Although it has been noted that there are significant and inexplicable lucunae in Spaulding's papers, they nevertheless touch on most phases of his professional life. There is, however, relatively little field material.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
1. Correspondence, 1948-1982; 2. manuscript of Spaulding writings; 3. material concerning students; 4. site reports and field project data; 4. material regarding conferences and committees; 6. material related to work as National Science Foundation archeology program director; 7. student notebooks and dissertation; 8. material regarding the Arzberger site; 9. administrative material regarding the University of Michigan; 10. academic papers collected by Spaulding, teaching aids, and lecture notes; 11. Philip C. Phillips and Gordon R. Willey file; 12. James A. Ford file; 13. correspondence regarding publications; 14. miscellany; 15. photographs
Biographical note:
Albert C. Spaulding was trained at Montana State University (B.A. in economics, 1935), the University of Michigan (M.A. in ahthropology, 1937), and Columbia University (Ph.D., 1946). In 1946-1947, he taught at the University of Kansas and was an assistant curator at the university's Museum of Anthropology. From 1947-1961, he taught at the University of Michigan and was curator of that university's Museum of Anthropology. In 1959-1961, Spaulding was first program director for the History and Philosophy of Science Program of the National Science Foundation and the NAS program director for anthropology. In 1963-1966, he was professor and chairman of the anthropology department at the University of Oregon. In 1967-1971, he became dean of the College of Letters and Science at the University of California at Santa Barbara and continued at that institution as professor of anthropology until 1983. Spaulding served the Society for Amercian Archeology as associate editor, secretary, vice president, and president. In 1964, he was vice president for Section H of American Association for the Advancement of Science.
Although Spaulding carried out several significant field projects, he is best rememberd for his theoretical and methodological concerns. In relating his first archeological field work, he declared: "My fundamental interest at the time (and now) was clarification of the basic concepts of archeology, which led me into explicit definitions of archaeological problems in terms of relationship between or among well-defined variables." Spaulding produced many articles and book reviews in which he dealt with such problems. Some of the best-known appeared in the pages of American Antiquity in 1953 and 1954 when be debated James A. Ford in general terms concerning teh most productive methods of archeology in general and the nature of archeological types and methods of defining them in particular. Because of his espousal of rigor in method, Spaulding is considered on of the main forerunners of the "new archeology" of the 1960s. For his work, he received the SAA distinguished Service Award in 1981.
Restrictions:
The Albert Clanton Spaulding papers are open for research.
Access to the Albert Clanton Spaulding papers requires an appointment.
Campus Beach south of marine laboratory, University of California, Santa Barbara campus, Santa Barbara County, California, United States, North America
