The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.
Scope and Contents note:
The papers of New York sculptor, painter, educator, and video artist, Benedict Tatti (1917-1993) measure 1.8 linear feet and date from 1936-2011, with the bulk of the collection dating from 1945-1993. Papers consist of biographical material, correspondence, project files, subject files, exhibition files, writings, notes, and lists, printed materials, and photographs. Exhibition files and printed material, such as catalogues and checklists provide an overview of Tatti's activities as a sculptor and video artist. Also, photographs of artwork are a rich source of provenance-related information on Tatti's sculptures.
Biographical materials include curriculum vitae, Who's Who in American Art, memberships, and awards. Correspondence is primarily from colleagues, dealers, collectors, and representatives of museums, galleries, and arts organizations. There are a few outgoing letters from Benedict Tatti, including a handmade holiday card. Among the notable correspondents are Jane Canfield, Lloyd Goodrich, Louis Slobodkin, and William Zorach. Also found is a small portion of Adele Tatti's correspondence relating to her late husband's artwork.
Project files contain Tatti's commissions for Eutectic-Castolin Institute, Staten Island Community College, Statue of Liberty Restoration, and the Usdan Center for the Creative and Performing Arts; application proposals to Creative Artists Public Service program (CAPS); and the artist's invention of the rewind reel adapter. Subject files include Tatti's memberships and activities in professional associations, e.g., American Medallic Sculpture Association, American Numismatic Society, and Audubon Artists; Tatti's Artist-in-Residence proposals for the Television Lab, WNET 13; and his involvement in educational video presentations. Exhibition files consist of scattered materials on Tatti's shows at the Anthology Film Archives; Burr Galleries; Galerie Claude Bernard; The Kitchen, Mercer Arts Gallery; Northeast Harbor Gallery; and Roko Gallery.
Writings, notes, and lists include writings by Benedict Tatti; writings about Benedict Tatti, including a statement on the artist by Isamu Noguchi; and lists compiled by Adele Tatti relating to her late husband's work. Artwork contains Tatti's sketch of a sculpture for the Northeast Harbor Museum and sketches of medal designs. Printed material consists of announcements, brochures, invitations, exhibition catalogues and checklists, clippings, periodicals, newsletters, reproductions, other printed matter, and monographs. Photographs include black and white prints of portrait shots of Benedict Tatti, Tatti in his studio and with others, video equipment and Tatti's video art; also found are color photographs of Tatti's sculptures and design maquettes.
Arrangement note:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Material, 1936-1993 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1945-2008 (Box 1; 0.1 linear feet)
Series 3: Project Files, 1966-2005 (Box 1; 0.1 linear feet)
Series 4: Subject Files, circa 1950s-2008 (Box 1; 0.1 linear feet)
Series 5: Exhibition Files, 1945-1992 (Box 1; 0.1 linear feet)
Series 6: Writings, Notes, and Lists, circa 1940s-2009 (Box 1; 4 folders)
Series 7: Artwork, 1970-circa 1990s (Box 1; 3 folders)
Series 8: Printed Material, 1937-1976 (Boxes 1-2; 0.8 linear feet)
Series 9: Photographs (circa 1936-1970s), circa 1964-2010 (Box 3; 0.4 linear feet)
Biographical/Historical note:
Benedict Tatti (1917-1993) worked in New York as a sculptor, painter, educator, and video artist.
Born in New York in 1917, Tatti began his art education at Haaren High School. He continued his studies at the Roerich Museum with Louis Slobodkin, the Art Students League with William Zorach and Ossip Zadkine, and the Leonardo da Vinci School of Art under Attillio Piccirelli. Later in his career, he attended the Hans Hofmann School of Fine Arts. During World War II, Tatti served in the United States Army Air Force, where he spent three years assigned to variety of projects. In 1948, Benedict Tatti married Adele Rosenberg in New York City.
Throughout his career, Tatti continuously experimented with various media. From 1952-1963, Tatti executed sculptural models of architectural and consumer products for the industrial designers, Raymond Loewy Associates; later he became a color consultant for the firm. In the 1960s, influenced by the Abstract Expressionists, Tatti turned from carving directly in wood and stone to creating assemblage sculptures, using bronze metal and other industrial materials. During this period, Tatti spent summers on Monhegan Island in Maine, where he developed his water coloring techniques. In 1963, Tatti was hired to teach sculpture at the High School of Art and Design in New York, a position that he held for fifteen years.
In the 1970s, Tatti, with no previous background in video work developed technology for video imaging. He became an associate member of the Kitchen at the Mercer Arts Center exhibiting his video sculptures along with other early innovators of this new art form. In 1975, he invented a rewind reel adapter device. Despite health problems, Tatti continued to work and exhibit into the 1980s. He assisted his brother, Alexander Tatti and his nephew, Steven Tatti on the restoration of the Statue of Liberty on Ellis Island, which was completed in 1985.
Benedict Tatti received solo and group exhibitions at museums and galleries in the United States and abroad, including the Burr Gallery, Claude Bernard Galleries, Metropolitan Museum of Art, under the Artists for Victory Program, Museum of Modern Art, National Gallery of Art, Northeast Gallery, Pennsylvania Academy of the Fine Arts, and the Roko Gallery. Also, Tatti's work was regularly featured in annual exhibitions of several arts organizations: American Society of Contemporary Artists, Annual Avant Garde Festival, Audubon Artists, Brooklyn Society of Artists, and Painters and Sculptors Society of New Jersey. His awards included the National Soldier Art Competition at the National Gallery of Art (1945); Artist-in-Residence, National Center of Experiments TV, San Francisco, California, (1969); and the Creative Artists Public Service (CAPS), (1972). Tatti's artwork is in the permanent collections of the American Numismatic Society, Art Students League, Dumbarton Oaks, Monhegan Museum, Smithsonian Institution, and the Usdan Center for the Creative and Performing Arts.
Benedict Tatti died on July 30, 1993.
Provenance:
The Benedict Tatti papers were donated by Adele Tatti, widow of Benedict Tatti, in 2010.
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:
Video artists -- New York (State) -- New York Search this
Topic:
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Genre/Form:
Notes
Awards
Lists
Christmas cards
Photographs
Designs
Sketches
Citation:
Benedict Tatti, 1936-2011, bulk 1945-1993. Archives of American Art, Smithsonian Institution.
Netherlands -- Amsterdam -- Description and Travel
New York (N.Y.) -- Description and Travel
Tanzania -- Description and Travel
Date:
2017 March 27-29
Scope and Contents:
An interview with Lyle Ashton Harris, conducted 2017 March 27 and 29, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Harris's studio and home in New York, New York.
Harris speaks of his childhood in the Bronx; his family's influence on his race-consciousness; living in Tanzania for two years as a child and the effects on his understanding of race and sexuality; his grandfather's extensive photographic archive; contact with the South African diaspora through his step-father; attending Wesleyan University; formative experiences in London, Amsterdam, and New York in the mid-1980s; his education and development as a photographer; attending CalArts and encountering West Coast AIDS activism; encountering systemic racism in Los Angeles; close friendships with Marlon Riggs and Essex Hemphill; exhibitions of his work in New York in the early 1990s; the production of his Ektachrome Archive and his impulse to photograph daily life; his work on the Black Community AIDS Research and Education (Black C.A.R.E.) project in Los Angeles; participating in the Whitney Museum's Independent Study Program; being diagnosed with HIV and remaining asymptomatic; attending the Dia Black Popular Culture Conference in 1992; photographing and mounting "The Good Life" in 1994 and "The Watering Hole" in 1996; issues of blackness and queerness in his photographic work; his residency at the American Academy in Rome in 2000; moving to Accra, Ghana for seven years in 2005; his pedagogy as an art professor; his thoughts on the lack of voices of color in the Visual Arts and the AIDS Epidemic Oral History Project and in the larger power structures of the art world; and his hope that his artistic legacy will be evaluated in its proper context. Harris also recalls Jackie and Robert O'Meally, Jay Seeley, Ellen O'Dench, Francesca Woodman, Jean-Michel Basquiat, Jim Collier, Robert Mapplethorpe, Allan Sekula, Hazel Carby, Isaac Julien, Catherine Lord, Millie Wilson, Todd Gray, John Grayson, Tommy Gear, Marlon Riggs, Essex Hemphill, Felix Gonzalez-Torres, Nancy Barton, Vickie Mays, Connie Butler, Greg Tate, Henry Louis Gates, Houston Baker, Nan Goldin, Jack Tilton, Simon Watson, and others.
Biographical / Historical:
Lyle Ashton Harris (1965- ) is an artist who works in video, photography, and performance in New York, New York. Alex Fialho (1989- ) is a curator and arts writer and works as Programs Director for Visual AIDS in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Performance artists -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Video artists -- New York (State) -- New York Search this
The papers of Los Angeles photo and video artist Eileen Cowin measure 20.1 linear feet and 29.56 GB and date from circa 1900 to 2020. The papers include biographical materials consisting of school records, identification cards, an interview transcript, and other personal files; personal and professional correspondence; writings for essays, video art pieces, panels, and lectures; teaching files; project files containing grant and fellowship records, files for Cowin's Los Angeles Metro Public Art Project, and other commission files; exhibition files documenting Cowin's group and solo exhibitions including Still (and all): Eileen Cowin, 1971-1998, a retrospective of Cowin's work; printed material; video artwork including laserdiscs of ...and Their Daughter Married a Prince, "Speaking Woman," and "Scarcely Had They Uttered," as well as sketches and and etching of family; photographic material of Cowin, family, friends and colleagues, proofs and prints of works; and personal business records consisting of artwork donation records, business records with galleries, and insurance and inventory lists.
Scope and Contents:
The papers of Los Angeles photo and video artist Eileen Cowin measure 20.1 linear feet and 29.56 GB and date from circa 1900 to 2020. The papers include biographical materials, correspondence, writings, teaching files, project files, exhibition files, printed and digital material, artwork and sketchbooks, sound and video recordings, and photographic material.
Biographical material consists of diplomas, passports, rolodexes, faculty identification cards, legal papers, interview transcripts, and miscellaneous documents in hard copy and digital formats.
Personal and professional correspondence is with family, friends, artists, collectors, gallery owners, museums, and universities. Notable correspondents include Carl Chiarenza, Darryl Curran, Maria Gonzalez, Robert Heinecken, Ellen Korsower, William Larson, and Aaron Siskind.
Writings include notebooks, annotated appointment calendars and wall calendars, lectures, essays, drafts and notes, artists statements, guest registers, and some writings by others. A few lectures and one essay are on sound and digital video recordings.
Teaching files are mostly related to material from California State University, Fullerton. There are a few documents from Franconia College and other universities where Eileen Cowin taught workshops or had faculty appointments. The files include student evaluations, promotion notifications, and limited correspondence.
Project files include professional files, such as grant applications, artist residencies, and symposiums. Also found are art project proposals, publication agreements for art projects, and commissions,. Files contain correspondence, printed and digital material, application forms, research notes, and photographic material.
Exhibition files include announcements, catalogs, reviews, correspondence, price lists of artwork, and assorted material for Eileen Cowin's group and solo shows.
Printed material consists primarily of clippings, exhibition catalogs, announcements, books, periodicals, and clippings.
Artwork includes 26 videocassettes of Cowin's artwork, 1 sketchbook, drawings, 4 digital audio recordings, and a few college art projects.
Photographic material includes press prints, digital photographs, proofs, contact sheets, slides, negatives, transparencies, and test shots. There are photographs of installations and artwork as well as images for exhibition mock-ups. There are also batches of "research photographs" which were used for reference. Also included are portraits and snapshots of Cowin, photographs of Cowin with friends and colleagues, and photographs of family.
Personal business records consisting of equipment lists for insurance, gallery files, addresses and contacts, and artwork donation files.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical Material, 1927-2015 (0.8 linear feet; Boxes 1, 24, ER01; 0.016 GB)
Series 2: Correspondence, 1969-2018 (3.9 linear feet; Boxes 1-4, 24, 28, ER02-ER03; 0.199 GB)
Series 3: Writings, 1963-2014 (2.4 linear feet; Boxes 4-6, 24-25, ER04-ER06; 11.88 GB)
Series 4: Teaching Files, 1974-2008 (0.3 linear feet, Boxes 6, 25, ER07; 0.171 GB)
Series 5: Project Files, 1979-2019 (1.5 linear feet; Boxes 6-7, 25-26, OV 30, ER08; 9.35 GB)
Series 6: Exhibition Files, 1979-2012 (1.5 linear feet; Boxes 7-8, 26, ER09; 0.001 GB)
Series 7: Printed Material, 1966-2014 (2.6 linear feet; Boxes 8-10, 17, 26, OV 20, ER10; 0.011 GB)
Series 8: Artwork and Sketchbooks, 1964-2014 (3.2 linear feet; Boxes 10-13, 17, 26, 28, ER11; 0.076 GB)
Series 9: Photographic Material, circa 1900-2020 (3.2 linear feet; Boxes 13-16, 18-19, 26-28, OVs 21, 31-32, ER12-ER13; 7.86 GB)
Series 10: Personal Business Records, 1972-2017 (0.6 linear feet; Boxes 27-28)
Biographical / Historical:
Eileen Cowin (1947-) is a photographer and video artist who lives in Los Angeles, California.
Eileen Cowin was born in Brooklyn, New York in 1947. She graduated from the State University of New York, New Paltz in 1968 and received her master's degree in photography from the Institute of Design at Illinois Institute of Technology (IIT) in Chicago in 1970. At IIT, she studied with Aaron Siskind and Arthur Siegel.
Cowin was involved in the L.A. experimental photography scene that began in the mid-1970s led by Robert Heinecken and Darryl Curran. In the early 1980s, Cowin gained initial prominence with staged photographs of family and friends in various roles, work in keeping with The Pictures Generation emerging at the same time on the East Coast.
From 1971-1975, Cowin taught photography at Franconia College in New Hampshire, and later became a professor at California State University, Fullerton, where she continued to teach until retiring in 2008.
Cowin's artwork has been featured in over 40 solo exhibitions and over 165 group exhibitions in the United States and abroad. She has received numerous awards for her art and worked on many public art projects.
Provenance:
The Eileen Cowin papers were donated to the Archives of American Art by Eileen Cowin in 2015 and 2021.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
One box of correspondence with Michael Dorris and Louise Erdrich and one box of correspondence with Robert Fichter are ACCESS RESTRICTED; use requires written permission.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of California artist, curator, and educator Bruria Finkel measure 15.3 linear feet and 83.815 GB, and date from 1953 to 2021. This collection includes biographical materials, correspondence, writings, project files, professional records, exhibition files, artists' files, personal business records, printed and digital materials, photographic materials, and sound and video recordings.
There is a 3.2 linear foot and .225 GB unprocessed addition to this collection donated in 2021 and 2022 that includes photographs, film photo slides and slides of works of art; printed material; biographical material; research material regarding papermaking in Japan; journals; project and exhibition files; interviews with Bruria and others on audio cassette, mini DVs and ¼ inch reels; and 16 mm film "Bruria" sequence from Art in America Part 5- Art Careers; and a video, Artist Talk with Bruria Finkel, October 21, 2021, created by the Southern California Women Caucus for the Arts for Third Thursday Artist Talk Time. Material dates from circa 1960-2021.
Scope and Contents:
The papers of California artist, curator, and educator Bruria Finkel measure 15.3 linear feet and 83.815 GB, and date from 1953 to 2021. This collection includes biographical materials, correspondence, writings, project files, professional records, exhibition files, artists' files, personal business records, printed and digital materials, photographic materials, and sound and video recordings.
Biographical materials include curriculum vitae, art portfolios, documents about studios, honors and awards, website designs and contents, travel documents, family-related video recordings, and miscellaneous items.
The bulk of the correspondence consists of professional correspondence with artists, curators, museums, and galleries about exhibitions. There is some personal correspondence with friends and family.
Writings include an annotated appointment calendar, book proposals, notes, and typescript drafts of statements and articles by Bruria Finkel, along with some writing by others.
Project files include correspondence, proposals, designs, photographic material, notes, budgets, reports, invoices, and printed and digital materials. Notable projects include the Natural Elements Sculpture Park, Tibet Project, and Verona Hotel Wall.
Professional records document Finkel's feminist and political activities. There are membership records of organizations, councils, and committees in addition to files on symposiums, conferences, workshops, and artist residencies. This series includes reports, correspondence, grant applications, mailing lists, presentations, video cassettes and digital video recordings, and other material.
Exhibition files contain material related to exhibitions that featured Bruria Finkel's work as well as exhibitions she curated. There are press releases, reviews, catalogs, correspondence, photographs, digital photographs, slides, price lists, resumes, videocassettes, and digital video recordings. Major exhibitions include Across Time, Space and The Ages (1992-1993), On Xenophobia and Walls (1997), and Women Artists of Southern California Then and Now (2007).
Artists' files consist of limited correspondence, resumes, photographs, and printed and digital materials.
Personal business records include assorted financial and legal documents such as price lists, sales invoices, contracts, and a financial ledger.
Printed material consists of exhibition catalogs, announcements, clippings, newspapers, magazines, documentaries, and news programs. Some of the materials are in digital format. Most of the material is related to Bruria Finkel, but there is some material on other artists and subjects.
Photographic materials include photographs, digital photographs, and slides. Photographs are of Bruria Finkel, her artwork, projects, and exhibitions. There are some photographs of family, friends, and travel.
There is a 3.2 linear foot and .225 GB unprocessed addition to this collection donated in 2021 and 2022 that includes photographs, film photo slides and slides of works of art; printed material; biographical material; research material regarding papermaking in Japan; journals; project and exhibition files; interviews with Bruria and others on audio cassette, mini DVs and ¼ inch reels; and 16 mm film "Bruria" sequence from Art in America Part 5- Art Careers; and a video, Artist Talk with Bruria Finkel, October 21, 2021, created by the Southern California Women Caucus for the Arts for Third Thursday Artist Talk Time. Material dates from circa 1960-2021.
Arrangement:
The collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1977-circa 2014 (0.5 linear feet; Box 1, 15.64 GB; ER01-ER13)
Series 2: Correspondence, 1953-2014 (2.5 linear feet; Boxes 1-3)
Series 3: Writings, 1978-circa 2010 (0.2 linear feet; Box 4)
Series 4: Project Files, 1979-2014 (2.1 linear feet; Boxes 4-6, OV 14, 2.01 GB; ER14-ER20)
Series 5: Professional Records, 1971-2013 (1.6 linear feet; Boxes 6-7, OV 14, 0.941 GB; ER21-ER22)
Series 6: Exhibition Files, 1972-2012 (3.2 linear feet; Boxes 7-10, OV 15, 54.34 GB; ER23-ER49)
Series 7: Artists' Files, 1979-2013 (0.3 linear feet; Boxes 10-11, 4.47 GB; ER50-ER55)
Series 8: Personal Business Records, 1977-2007 (0.2 linear feet; Box 11)
Series 9: Printed Materials, 1970-2014 (1 linear feet; Boxes 11-12, OV 15-16, 1.01 GB; ER56-ER58)
Series 10: Photographic Materials, circa 1963-2014 (0.5 linear feet; Boxes 12-13, 5.18 GB; ER59-ER66)
Series 11: Unprocessed Addition, 2021 and 2022 (Boxes 17-19, OV 20-21, .225 GB)
Biographical / Historical:
Bruria Finkel (1932-) is an artist, curator and teacher based in Santa Monica, California.
Bruria Finkel was born in Jerusalem in 1932. She studied animal husbandry at Ayanot Agriculture School and received a teaching degree from Seminar Hakibutzim in Tel Aviv, Israel. In 1953, she married a musician and immigrated to the U.S. Their two daughters were born in New York City. In 1959, she divorced and moved to Santa Monica, California with her children. She later married David Finkel, a civil rights lawyer who went on to become a Superior Court judge, with whom she had a son and daughter.
Finkel works with a variety of mediums including pottery, paper, painting, porcelain, and sculpture. She has exhibited widely and her work has been featured in galleries and museums in California, across the country, and abroad. Major exhibitions include Across Time, Space and The Ages (1992-1993) at the Dusseldorf Stadtmuseum in Germany, On Xenophobia and Walls (1997) at the Mill Gallery in England, and The Complete Aleph Series (2009) at Track 16 Gallery in California.
In addition to being a prolific artist, Finkel also has a successful career as a curator. She has curated major exhibitions featuring artists such as Lita Albuquerque, John Baldessari, and Frank Gehry. Santa Monica Originals (2004-2005), Women Artists of Southern California Then and Now (2007), and Breaking in Two: Provocative Images of Motherhood (2012) are a few of the exhibitions she has curated.
Finkel has a long history of political activism and advocating for women. She helped establish the Santa Monica Arts Commission which is dedicated to creating city art programs. She is also a founding member of the Los Angeles County of Women Artists and Womenspace Gallery in Los Angeles. She continues to be actively involved in the Santa Monica community and art scene.
Provenance:
The Bruria Finkel papers were donated in 2015 and 2020-2022 by Bruria Finkel.
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.
The papers of feminist, conceptual, video, and performance artist Ilene Segalove measure 7.1 linear feet and 6.06 gigabytes and date from 1964 to 2021. The collection contains a small amount of biographical material including resumes, certificates, and address lists; correspondence with family and friends; writings; and teaching files from the University of California, Santa Barbara. The bulk of the collection consists of project and exhibition files for both solo works and works in collaboration with Lowell Darling, and printed material. Also included are photographic materials such as snapshots of exhibition openings and slides of artwork; and artwork, primarily artist notebooks and video art. There is a 2.7 linear foot unprocessed addition to this collection donated in 2021 that include materials from Segalove's childhood, photographs of family events, and materials related to recent projects including sound recordings on cassette. Materials date from 1960-2021.
Scope and Contents:
The papers of feminist, conceptual, video, and performance artist Ilene Segalove measure 7.1 linear feet and 6.06 gigabytes, and date from 1960 to 2021. The collection contains a small amount of biographical material including resumes, certificates, and address lists; correspondence with family and friends; writings; and teaching files from the University of California, Santa Barbara. The bulk of the collection consists of project and exhibition files for both solo works and works in collaboration with Lowell Darling, and printed material. Also included are photographic materials such as snapshots of exhibition openings and slides of artwork; and artwork, primarily artist notebooks and video art. There is a 2.7 linear foot unprocessed addition to this collection donated in 2021 that include materials from Segalove's childhood, photographs of family events, and materials related to recent projects including sound recordings on cassette. Materials date from 1960-2021.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1977-1987, 2014 (Box 1, Box 6; 5 folders)
Series 2: Correspondence, 1975-2005 (Box 1; 1 folder)
Series 3: Writings, 1970s-1980s (Box 1; 0.1 linear feet)
Series 4: Teaching Files, 2012-2013 (Box 1; 2 folders)
Series 5: Project and Exhibition Files, 1971-1991, 2004-2013 (Boxes 1-2, Box 6, OV 7; 1.3 linear feet; 2.50 GB; ER01)
Series 6: Printed Material, 1972-2017 (Boxes 2-4, Box 6; 1.9 linear feet)
Series 7: Photographic Material, 1964, circa 1970s-1990s (Box 4, Box 6; 0.2 linear feet)
Series 8: Artwork, 1974-2013 (Boxes 4-5, Box 6, Box 8; 0.5 linear feet; 3.56 GB, ER02-ER04)
Series 9: Unprocessed Addition, 1960-2021 (Boxes 9-12; 2.7 linear feet)
Biographical / Historical:
Ilene Segalove (1950-) is a feminist, conceptual, video, and performance artist in Santa Barbara, California. She studied fine arts at the University of California, Santa Barbara and communication arts at Loyola Marymount University. In much of her work, Segalove examines "familiar things," making quasi-documentaries about her experiences and her family. She has been featured in several exhibitions, particularly in California and New York, and her works are included in collections of institutions such as the Metropolitan Museum of Art, the Jewish Museum, the Los Angeles County Museum of Art, and the Museum of Fine Arts in Houston.
Provenance:
The Ilene Segalove papers were donated to the Archives of American Art by Ilene Segalove in 2018, 2019 and 2021.
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 born-digital records or audiovisual recordings in this collection must use access copies, and use requires advanced 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.
The Rosamund Felsen Gallery records measure 28.9 linear feet and date from 1949 to 2014, with the bulk of the records dating from 1978 to 2014. The records shed light on the gallery's operations primarily through administrative records, artist files, exhibition and event files, financial records, born digital material, photographs, and slides.
Scope and Contents:
The Rosamund Felsen Gallery records measure 28.9 linear feet and date from 1949 to 2014, with the bulk of the records dating from 1978 to 2014. The records shed light on the gallery's operations primarily through administrative records, artist files, exhibition and event files, financial records, born digital material, photographs, and slides.
Exhibition and event files relate to Rosamund Felsen Gallery exhibitions and performances as well as a number of art fairs and exhibitions held at other galleries and museum spaces. The files contain consignment and sales records, check lists, born digital material, photographs and slides, installation directions, printed material, and more. Financial records contain primarily sales records, invoices, some correspondence, and receipts.
Arrangement:
The collection is arranged as four series.
Series 1: Administrative Records, 1968-2013 (2 linear feet; Box 1-2, OV 30-33)
Series 2: Artist Files, 1949-2013, bulk 1978-2006 (19.7 linear feet; Box 22-25, OV 34)
Series 3: Exhibition and Event Files, 1979-2014 (3.7 linear feet; Box 22-25, OV 34-36)
Series 4: Financial Records, 1978-2014 (3.5 linear feet; Box 25-29)
Biographical / Historical:
The Rosamund Felsen Gallery was established in 1978 in Los Angeles, California by Rosamund Felsen. The gallery closed its physical location in 2016 after nearly four decades as a widely influential contemporary art gallery.
In 1960, Rosamund Felsen began her art career working as an assistant registrar for the Pasadena Art Museum, and eventually became curator of prints. Felsen also worked at Gemini GEL: Graphics Editions Limited alongside her second husband, Gemini co-founder Sidney Felsen. From these positions, Felsen became friendly with both established and younger artists, learned to mount exhibitions, and participated in art-related operations. In 1977, Timothea Stewart asked Felsen if she would like to work at her new gallery. After two exhibitions, Felsen took over the Timothea Stewart Gallery and started her own.
Rosamund Felsen gallery exhibited artists working in various mediums, including video and sound, and frequently showed live performance art. Early artists exhibited at the gallery included Richard Jackson, Keith Sonnier, Maria Nordman, Chris Burden, and William Wegman. Felsen gallery opened Robert Rauschenberg's In + Out City Limits: Los Angeles (1981) on New Year's Eve; and added artists Jeffrey Vallance, Mike Kelley, Lari Pittman, and Erika Rothenberg to its roster by the end of the 1980s. Felsen brought on a list of new artists in the 1990s, including Paul McCarthy, Renee Petropoulos, Tim Ebner, Meg Cranston, Steven Hull, and Nancy Jackson. The gallery continued to show solo and group exhibitions of its artists, and featured a run of smaller artist-curated exhibitions of local and international artists. The Project Wall exhibitions included artist/curators Andrea Bowers and Steven Hull and showed European artists Erwin Wurm and Nils Norman. By 2004, Felsen's artists were all living in Los Angeles except for two, video artists Judith Barry and Joan Jonas.
In 1990, the gallery moved from Los Angeles to West Hollywood on Santa Monica Boulevard. Four years later, Felsen Gallery moved to a location in the Bergamot Station Arts Center, where it remained until 2015. After Bergamot, the gallery moved to the Arts District in Los Angeles. Rosamund Felsen Gallery closed its physical location in 2016, but continued representing a number of artists online.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rosamund Felsen conducted by Anne Ayres, October 11, 2004.
Provenance:
The collection was donated in several installments from 2014 to 2016 by the Rosamund Felsen Gallery via Rosamund Felsen, gallery founder and owner. Rosamund Felsen Letters and Postcards were donated in 2016 by Rosamund Felsen.
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 born-digital records or audiovisual recordings 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.
Rosamund Felsen Gallery records, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Material gathered by Berkson in preparation for exhibitions on sculptors Ronald Bladen and Les Levine.
The Bladen material, compiled for a retrospective at the San Francisco Museum of Modern Art, 1991, includes: biographical material; an unpublished artists' statement, 1946; interviews of Bladen; material from the California School of Fine Art's archives, and the Whitney Museum of American Art; Bladen correspondence, 1931-1956; Berkson correspondence, 1990-1991; a painting checklist; writings by and about Bladen; photographs of Bladen's paintings and sculptures; exhibition announcements 1941-1983; and clippings and reviews, 1941-1987.
Files on Les Levine include photographs, slides, correspondence, articles, announcements, and clippings. Included are information on his media projects Subway Project (1989) and Diamond Mind.
Biographical / Historical:
Berkson is an art historian, curator; San Francisco, Calif. Bladen, a painter and sculptor, worked in San Francisco in the mid-1950s, and later moved to New York. Levine, a conceptual and video artist, and a curator, works in New York.
Related Materials:
Papers of Bill Berkson, 1960-1988, are also located at the University of Connecticut's Archives & Special Collections.
Provenance:
Donated 1991 and 1995 by Bill Berkson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Sculptors -- California -- San Francisco Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
An interview of Kira Perov-Viola conducted 2005 Aug. 30, by Hunter Drohojowska-Philp, for the Archives of American Art, in the artist's studio, in Long Beach, Calif.
Biographical / Historical:
Kira Perov (1951- ) is a photographer, arts administrator, and career long collaborator of her husband, video artist Bill Viola, from Long Beach, Calif. Hunter Drohojowska-Philp is an art critic from Beverly Hills, Calif.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 6 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 interview is access restricted; written permission is required. Contact Reference Services for more information.
United States. General Services Administration. Design Excellence and the Arts Oral History Project Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project Search this
Extent:
58 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2010 May 10-11
Scope and Contents:
An interview of Xiaoze Xie conducted 2010 May 10 and 11, by Mija Riedel, for the Archives of American Art's U.S. General Services Administration, Design for Excellence and the Arts oral history project at Xie's studio in Stanford, California.
Xie speaks of growing up in a rural area of southern China; the incorporation of historical events into his work; the development of his series Library in the US and China; his education, including attending graduate school for architecture at the Central Academy of Art and Design in Beijing and at the University of North Texas for painting; the outbreak of the pro-democracy student movement in China in 1989; his first big artwork in the US, Duet; the incorporation of Photorealism in his work; his piece Flags and Banners, which used existing photographs as source images; the process of making his paintings using newspapers as source images; his GSA commission, Iowa Reports; the urgency he felt to create political work after September 11, 2001; comparisons of his work with that of other contemporary American and Chinese artists; and his influences including Gerhard Richter. Xie also recalls Vincent Falsetta, Vernon Fisher, Xu Beihong, Lin Fengmian, Liu Haisu, Wu Zuoren, and others.
Biographical / Historical:
Interviewee Xiaoze Xie (1966- ) is a Chinese American visual artist and professor based in Palo Alto, California. Interviewer Mija Riedel (1958- ) is a writer and independent scholar in San Francisco, California.
General:
Originally recorded on 6 memory cards. Reformatted in 2010 as 7 digital wav files. Duration is 4 hrs., 8 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.
The papers of painter, graphic and video artist, and educator Eleanor Dickinson measure 29.8 linear feet and 0.002 gigabytes, and date from 1947 to 2014. The collection comprises biographical materials; professional and personal correspondence; video and sound recordings of interviews for Dickinson's television program Art of the Matter; exhibition files; teaching files for the California College of Arts and Crafts and other professional and project files; research and subject files; membership records, including born-digital material, and sound and video recordings, for various organizations; personal financial and legal records; printed materials featuring Dickinson and her artwork; and photographic materials of Dickinson in her studio and with friends, colleagues, and family, as well as exhibitions and other art events, and works of art.
Scope and Contents:
The papers of painter, graphic and video artist, and educator Eleanor Dickinson measure 29.8 linear feet and 0.002 gigabytes, and date from 1947 to 2014.
The collection comprises biographical materials containing datebooks, certificates, resumes, and sketches; professional and personal correspondence; video and sound recordings of interviews for Dickinson's television program Art of the Matter; exhibition files for Spirit in the Land: Photographs from the Bible Belt (1987) and various group exhibitions; files documenting Dickinson's professional activities outside of teaching at the California College of Arts and Crafts; and files that include video recordings for projects on artist's models, Revival!, and gender discrimination in the art field.
Also found are research and subject files on Howard Finster, professionalism in art, and other topics; California College of Arts and Crafts teaching files consisting of student and faculty records, course material, and administrative records; membership records that include born-digital material, and sound and video recordings for Artists Equity Association, Women's Caucus for the Arts, and other organizations; records documenting Dickinson's personal financial and legal dealings that include artwork sales records, studio expenses, and lists of artworks in the Eleanor and Wade Dickinson Art Collection; printed materials featuring Dickinson and her artwork; and photographic materials depicting Dickinson in her studio and with friends and colleagues, family, exhibitions and art events, and works of art.
Arrangement:
The collection is arranged as 12 series.
Series 1: Biographical Materials, 1957-2014 (1.0 linear feet; Box 1, OVs 32, 36)
Series 2: Correspondence, 1954-2013 (3.0 linear feet; Boxes 1-4)
Series 3: Interviews, 1976-2000 (2.5 linear feet; Boxes 4-7)
Series 4: Exhibition Files, 1960-2012 (0.8 linear feet; Boxes 7-8)
Series 5: Professional Files, 1963-circa 2005 (0.5 linear feet; Box 8, OV 34)
Series 6: Project Files, 1955-2001 (4.5 linear feet; Boxes 8-13, OVs 32-33)
Series 7: Research and Subject Files, circa 1970-circa 1997 (1.5 linear feet; Boxes 13-15)
Series 8: California College of Arts and Crafts Teaching Files, 1962-2002 (1.5 linear feet; Boxes 15-16)
Series 9: Membership Records, 1947-2014 (8.0 linear feet; Boxes 17-24, 31, OV 34, ER01)
Series 10: Personal Business Records, 1957-2011 (2.0 linear feet; Boxes 25-26)
Series 11: Printed Materials, 1951-2011 (4.0 linear feet; Boxes 26-30, OVs 32-33, 35-36)
Series 12: Photographic Materials, 1958-2012 (6 folders; Box 30)
Biographical / Historical:
Eleanor Dickinson (1931-2017) was a painter, graphic and video artist, and educator in San Francisco, C.A.
Dickinson was born in Knoxville, Tennessee in 1931. Shortly after graduating from University of Tennessee in 1952 with a Bachelor of Arts, Dickinson moved to California and established a studio in San Francisco. There she immersed herself in the counterculture of the 1960s, becoming friends with Allen Ginsberg and producing a poster with Ginsberg's fellow Beat poet Lawrence Ferlinghetti.
Dickinson's continuing interest in and activism for the rights and well-being of artists also influenced her work with the Artists Equity Association, the Women's Caucus for the Arts, and numerous other organizations. Though extremely active in the art world of the West Coast, she never forgot her southern roots and continued to visit Tennessee annually. Dickinson's close connection to her birthplace is evident throughout her career, with Southern religion often being central to her work. Among her most prominent projects are the multifaceted exhibition Revival!, the documentary "Artist's Models of San Francisco," the ink drawings seen in Old Lovers, and illustrations for the books Complete Fruit Cookbook and That Old-Time Religion.
Dickinson was married to Wade Dickinson and had three children: Mark, Katy, and Daniel. Dickinson died in San Francisco, California, in 2017.
Related Materials:
Also found in the Archives of American Art is an oral history with Eleanor Dickinson conducted on October 25, 2000 by Paul Karlstrom, for the Archives of American Art, in Dickinson's studio/home, in San Francisco, California.
Provenance:
The Eleanor Dickinson papers were donated from 1979 to 2005 by Eleanor Dickinson and in 2017 by the Eleanor Creekmore Dickinson Charitable Art Trust.
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 born-digital records or audiovisual recordings 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:
Painters -- California -- San Francisco Search this
Video artists -- California -- San Francisco Search this
Graphic artists -- California -- San Francisco Search this
Educators -- California -- San Francisco Search this
Eleanor Dickinson papers, 1947-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
An interview of Bill Viola conducted 2003 October 30-2004 January 14, by Hunter Drohojowska-Philp, for the Archives of American Art, in Viola's home/office.
Viola discusses his earliest childhood memories of growing up in Queens, N.Y.; his education and work. He recalls Jack Nelson, composer David Tudor, David Ross at the Everson Museum, Syracuse, NY, Nam June Paik, Mario Merz and Vito Acconci, and Kira Perov and other artists.
Biographical / Historical:
Bill Viola (1951- ) is a video artist of Long Beach, California. Interviewer Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 17 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 interview is access restricted; written permission is required. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for this interview provided by the Pasadena Art Alliance.
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.
An interview of Judy Fiskin conducted 2009 Nov. 9 and 23, by Hunter Drohojowski-Philp, for the Archives of American Art, at Fiskin's home and studio, in Los Angeles, Calif.
Biographical / Historical:
Judy Fiskin (1945- ) is an artist who works in photography and video in Los Angeles, Calif.
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. For access to the audio recording, please contact Reference Services.
Occupation:
Photographers -- California -- Los Angeles Search this
Video artists -- California -- Los Angeles Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
