The papers of Los Angeles photo and video artist Eileen Cowin measure 14.7 linear feet and 29.56 GB and date from 1961 to 2015. The papers include biographical materials, correspondence, writings, teaching files, project files, exhibition files, printed and digital material, video artwork and sketchbooks, sound and video recordings, and photographic material.
Scope and Contents:
The papers of Los Angeles photo and video artist Eileen Cowin measure 14.7 linear feet and 29.56 GB and date from 1961 to 2015. 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. There is one folder of photographs of Eileen Cowin.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1961-2015 (0.8 linear feet; Box 1, ER01; 0.016 GB)
Series 2: Correspondence, 1969-2015 (3 linear feet; Boxes 1-4, ER02-ER03; 0.199 GB)
Series 3: Writings, 1963-2014 (1.6 linear feet; Boxes 4-6, ER04-ER06; 11.88 GB)
Series 4: Teaching Files, 1974-2008 (0.3 linear feet, Box 6, ER07; 0.171 GB)
Series 5: Project Files, 1979-2010 (0.6 linear feet; Boxes 6-7, ER08; 9.35 GB)
Series 6: Exhibition Files, 1979-2011 (1.1 linear feet; Boxes 7-8, ER09; 0.001 GB)
Series 7: Printed Material, 1966-2014 (2.6 linear feet; Boxes 8-10, 17, OV 20, ER10; 0.011 GB)
Series 8: Artwork and Sketchbooks, 1964-2003 (3.2 linear feet; Boxes 10-13, 17, ER11; 0.076 GB)
Series 9: Photographic Material, 1968-2015 (2.5 linear feet; Boxes 13-16, 18-19, OV 21, ER12-ER13; 7.86 GB)
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.
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 Eileen Cowin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Scope and Contents:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.
Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.
Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.
Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.
Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)
Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)
Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)
Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)
Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)
Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)
Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)
Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)
Biographical / Historical:
Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.
Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.
Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.
Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.
Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.
In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.
Provenance:
Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.
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 Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Reporters and reporting -- Washington (D.C.) Search this
Gene Davis papers, 1920-2000, bulk 1942-1990. 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.
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.
Scope and Contents:
The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.
Although the program never aired, the video shot for the pilot documents significant artists and gallerists of its time, with profiles of O.K. Harris Works of Art and its founder, Ivan Karp, as well as art dealer Holly Solomon and critic Barbara Rose, Marcia Tucker in the early days of the New Museum, and footage of artists like Nam June Paik, Liz Phillips, and George Segal in their studios, describing their work in detail. The sound and video piece created by Paik and Phillips with the dancer Robert Kovich was commissioned by the State of the Arts producers for the pilot program, and the four hours of video documenting their collaboration and its product may therefore be unique.
Interview subjects for the economics of art story include Ivan Karp, Tom Drysdale, Rick Derman, Cosmo Campoli, Joan Thorne, Holly Solomon, Marcia Tucker, and Barbara Rose. The Marcia Tucker interview takes place at the New School, which was at the time the home of the New Museum. Footage also includes a gallery opening at O.K. Harris Works of Art. Extended interviews with Liz Phillips, Nam June Paik, and George Segal are found in the footage of their respective stories.
Arrangement:
The collection is arranged as one series.
Series 1: -- State of the Arts -- Production Video, 1979 (2.4 linear feet; boxes 1-3)
Biographical / Historical:
State of the Arts was planned as a broadcast television magazine program on the subject of contemporary art. The pilot was produced in 1979 by Lawrence P. Fraiberg Productions with funding provided jointly by IBM and the National Endowment for the Arts. Fraiberg and Tom Cavanau served as executive co-producers, Rick Derman as field producer, and Barry Nolan as interviewer. The program never aired.
Lawrence P. Fraiberg was a longtime television documentary veteran when the pilot was produced. He graduated from the University of California in 1949 and began his career at television station KPIX in San Francisco. He became vice president and general manager of WNEW-TV in New York in 1965, and was named president of Metromedia Television in 1977. In 1980 he was appointed president of the Television Station Group for Westinghouse Broadcasting. An active member in community and industry organizations, he is a recipient of an honorary degree (1978) from St. John's University, New York, a Peabody Award for Lifetime Achievement in the Broadcasting Industry (1986), and a Trustees Award from the National Academy of Television Arts and Sciences (1990). He died in 2011.
Barry Nolan, the interviewer for State of the Arts, went on to a career as a television magazine host and producer, with credits including Evening Magazine, Hard Copy, Extra!, and Nitebeat, and in 2012 produced the documentary No Way Out But One with his wife, Garland Waller.
Provenance:
Donated 1979-1980 by Lawrence P. Fraiberg.
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 State of the Arts videorecordings are owned by the Archives of American Art, Smithsonian Institution. Video may be used for research, study, and scholarship purposes only and is not to be used in whole or in part for broadcast purposes.
Occupation:
Art museum directors -- New York (State) -- New York -- Interviews Search this
State of the Arts Videorecordings, 1979. 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.
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 attended the San Francisco Art Institute from 1961 to 1963. In 1971, she traveled to Paris to study drawing at the Académie de la Grande Chaumière. Dickinson taught at the California College of Arts and Crafts (CCAC) from 1971 to 2001 where she also received her Master of Fine Arts in film and video in 1982. At the CCAC, she taught a series of courses on art business and management. Her interest in the professional aspects of the art field led to the creation of her cable access show, Art of the Matter, that featured guests speaking on topics such as art management, law, financial matters, insurance, and other practical issues related to being a professional artist.
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
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.
