A digital audio recording of an interview with William Wilson conducted by Jonathan Katz in 2012. Wilson talks about his relationships in the art world including Ray Johnson, Andy Warhol, Valerie Solanis, his mother May Wilson, and many others.
Biographical / Historical:
Jonathan Katz is the director, Visual Studies Doctoral Program, Department of Art, University at Buffalo, New York.
Provenance:
Donated 2018 by Jonathan Katz.
Restrictions:
For information on how to access this interview contact Reference Services. Use of born digital records with no duplicate copy requires advance notice.
An interview of V. V. Rankine conducted 1990 Mar. 2-22, by Liza Kirwin, for the Archives of American Art.
Rankine discusses the evolution of her nickname, V.V.; discovering her dyslexia; growing up in Boston; auditioning for a part in, "The Philadelphia Story"; her art studies with Amedee Ozenfant from 1944 to 1946; her studies at Black Mountain College with Josef Albers and Willem De Kooning in 1947; her friendship with Morris Louis and watching him work; living with her brother-in-law Arshile Gorky, in New York City; her first one-woman show at the David Herbert Gallery in New York in 1962; exhibiting at the Betty Parsons Gallery in New York and at the Jefferson Place Gallery in Washington, D.C.; Robert Richman and the Institute of Contemporary Arts; the relationship between her painting and her sculpture; favorite shapes and materials; and her summer home in East Hampton and artist friends there. Rankine also recalls Robert Rauschenberg, Jack Youngerman, Manoucher Yektai, Betty Parsons, Ibram Lassaw, Buckminster Fuller, Elaine De Kooning, Arthur Penn, Richard Leopold, John Cage, Merce Cunningham, Ken Noland, Morris Louis, Ray Johnson, Kenneth Snelson, David Hare, Frederick Kiesler, Raphael Soyer, Moses Soyer, Jean Renault, Agnes Gorky, Esther Magruder, James Johnson Sweeney, Jim Brooks, John Graham, Phillip Guston, Duncan Phillips, Theresa Helburn, Augustine Duncan, Tom Downing, Gene Davis, Alice Denney, Nesta Dorrance, Kevin Merrill, Sam Gilliam, Dylan Thomas, Kay Halle, Kit Kennedy, Naum Gabo, President Lyndon B. Johnson, Anne Truitt, Wretha Nelson, Franz Bader, Louise Nevelson, Andy Warhol, Jackson Pollock, Bonnie Newman, Alexander Russo, Walt Sheridan, Gilbert Kinney, Saul Sherman, Steve Pace, Lee Krasner, and others.
Biographical / Historical:
V.V. Rankine (1920-2004) was a painter and sculptor from Washington, D.C. Variable forms of the artist's name are notably E. R. (Elvine Richard) Rankine, Vivian Scott Rankine, and her married name, Mrs. Paul Scott.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 53 min.
Provenance:
These interviews are 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 others.
The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.
Scope and Contents:
The Rosa Esman Gallery and Tanglewood Press Inc. records measure 16.0 linear feet and date from circa 1922 to 2014, with the bulk of the records dating from 1972 to 1994. The records shed light on two businesses operated by Rosa Esman through administrative files, artist files, exhibition and event files, sales and financial records, printed material, photographic materials, and several objects.
Administrative files contain correspondence files, printed material, and inventories; photos of the gallery, Rosa Esman, and others; a few gallery blueprints; and pins and magnets from a collaboration between the Esman Gallery and artists Roy Lichtenstein, Gustav Klutsis, Lazar "El" Lissitzky, and Sol LeWitt. Artist files consist of resumes and biographical summaries, correspondence, pricelists, exhibition material, press packets, photographic materials depicting artwork and artists, and more. Artists include Eileen Gray, Lev Nussberg, Pascal Verbena, Helen Frankenthaler, Alexander Rodchenko, Sol LeWitt, Peter Boynton, and Jan Muller. Exhibition and event files contain price lists, loan agreements, correspondence, printed materials, and photographic materials. Included in this series is one file for an exhibition held at Knoedler Gallery that was in collaboration with Rosa Esman after she had closed her gallery. Financial records consist of sales books, consignment records, receipts and invoices, ledgers, and some appraisals. Tanglewood Press Inc. files contain correspondence files, financial records, order forms and receipts, photographic materials, press packets, mailers, a certificate, and some exhibition materials. Printed material consists of some miscellaneous postcards, exhibition announcements and catalogs including a binder of exhibition announcements. Photographic material consists of photographs, slides, and negatives of artwork displayed at the gallery. There are also a number of CDs containing digital photographs.
Arrangement:
This collection is arranged as seven series.
Series 1: Administrative Files, 1973-2014 (Box 1-2, 16; 1.8 linear feet)
Series 2: Artist Files, 1920s, 1953-2011 (Box 2-8, 16; 5.7 linear feet)
Series 3: Exhibition and Event Files, 1971-2014 (Box 8-12, 16; 4.8 linear feet)
Series 4: Financial Records, 1965, 1977-2013 (Box 12-13, 16-17; 1.9 linear feet)
Series 5: Tanglewood Press Inc. Records, 1964-2003 (Box 13-15, 17; 1.0 linear feet)
Series 6: Printed Material, circa 1972-1994 (Box 2, 12, 17; 0.2 linear feet)
Series 7: Photographic Material, circa 1970s-2013 (Box 2, 7, 8, 12, 18; 0.4 linear feet)
Biographical / Historical:
Rosa Esman Gallery was established in 1972 in New York, New York by Rosa Esman. The gallery exhibited mostly twentieth-century American and European art in various mediums and styles, including pop art, European outsider art, Dada, constructivism, architecture, interior design, and Russian artists from the early twentieth century. Tanglewood Press Inc. was an art publishing company founded by Esman, and published thirteen limited-edition portfolios by a number of artists from 1965 to 1991.
With encouragement from Doris Freedman and Hans Kleinschmidt, Esman established Tanglewood Press Inc. in 1965 as a publisher of artists' portfolios. The first publication, New York Ten (1965), included artwork by Tom Wesselmann, George Segal, Claes Oldenburg, Roy Lichtenstein, Mon Levinson,
Robert Kulicke, Nicholas Krushenick, Helen Frankenthaler, Jim Dine, and Richard Anuszkiewicz. Later publications included artwork by Andy Warhol, Mary Bauermeister, Ad Reinhardt, Robert Motherwell, Sol LeWitt, Jim Dine, and many others. The portfolio, "Ten Landscapes-Roy Lichtenstein (1967), was published in collaboration with Abrams Original Editions. Esman was contracted to work at Abrams Original Editions for a short period of time in the late 1970s. Esman and her Tanglewood Press Inc. were featured in the exhibition, The Great American Pop Art Store: Multiples of the sixties (1997-2000), University Art Museum, California State University, Long Beach, California.
Esman held a drawings exhibition of artwork borrowed from the Leo Castelli Gallery in 1972 in a space she rented for Tanglewood Press Inc.; she credited this as the beginning of Rosa Esman Gallery. Esman continued exhibiting in that location for the next several years, including a solo show of folded drawings by Sol LeWitt and Modern Master Drawings: Avery, Stuart Davis, De Kooning, Hoffman, Motherwell (1973). Esman moved her operation in 1975 to a building in midtown near the galleries of Tibor de Nagy and Virginia Zabriskie. Artists and printmakers shown at Esman Gallery during 1970s include Christo, Bill Fares, Tom Noskowski, Ursula Von Rydingsvard, Hannah Tierney, and Eileen Gray. In 1979, Esman began an exhibition series of Russian avant-garde art, The Russian Revolution in Art, 1-5 (1979-1983), featuring artwork by Kasmir Malevich, Alexander Rodchenko, Lyubov Popova, and many others of the Russian avant-garde. Esman moved the gallery to SoHo in 1980. In the 1980s, Esman began showing European outsider artists Pascal Verbena and Henry Darger and held a group exhibition of outsider artists in 1986, Outsiders: Art Beyond the Norm. Other exhibitions in the 1980s included Art by Architects (1980), Architecture by Artists (1981), Curator's Choice: A Tribute to Dorothy Miller (1982). Later exhibitions featured artists Joseph Zito, Sofia Dymshits-Tolstaya, Eric Snell, and Carl Goldhagen; and group shows of Dada art, twentieth-century photography, and constructivism. After closing Rosa Esman Gallery in 1992, Esman entered a partnership at Ubu Gallery with Adam Boxer and Alfred Jarry.
Rosa Mencher Esman was born in New York, New York in 1927. She studied government at Smith College in Northhampton, Massachusetts. She went abroad to Europe her junior year, visiting museums in Geneva, Florence, and Paris. After college, she worked several jobs including a position in the art book department of Harper and Brothers and as an office administrator for Rene d'Harnocourt at the Museum of Modern Art, New York. In 1957, she and a friend opened Tanglewood Gallery in Stockbridge, Massachusettes, showing artwork by artist-friends, utilizing the Museum of Modern Art lending service, and borrowing from the Downtown Gallery. The Tanglewood Gallery exhibited artists Milton Avery, Karl Schrag, Tom Wesselman, Alexander Calder, George Morrison, Robert Indiana, Richard Anuszkiewicz, Mervin Jules, and George L. K. Morris, among others. The gallery operated until circa 1960.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rosa Esman conducted by James McElhinney, June 9-16, 2009.
Provenance:
The collection was donated by Rosa Esman in 2003 and 2014 and in 2023 by the Esate of Rosa Esman via Abigail Esman, co-executor.
Restrictions:
Two folders comprised of Rosa Esman Gallery legal files, 1989-1991, in Box 15 are access restricted. Contact Reference Services for more information. 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 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.
Rosa Esman Gallery and Tanglewood Press Inc records, circa 1922-2014. 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.
A telephone interview conducted with Andy Warhol on August 25, 1978 by Michael Kurcfeld for New West Magazine. The intent of the interview was to discuss Warhol's exhibition at Ace Gallery in Los Angeles, California, but the conversation broadened to cover a variety of topics.
Biographical / Historical:
Michael Kurcfeld is a journalist and editor. At the time of the interview in 1978, he was Galleries Editor for New West Magazine in Los Angeles, California.
Provenance:
The collection was donated in 2019 by Michael Kurcfeld.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of audio visual recordings with no duplicate copy requires advance notice.
Topic:
Journalists -- California -- Los Angeles Search this
Interview of John W. Outterbridge conducted 1973 January 3, by Allen Bassing, for the Archives of American Art.
Outterbridge speaks of his family background and how that influenced him to lean toward the arts; attending Agriculture & Technical University and majoring in engineering even though he wanted to become an artist; joining the Army in order to get the G.I. Bill so he could afford school; painting during his three-year stint in the service, and how his company commander admired his work and got him a studio; attending the Chicago Academy of Art, then the American Academy of Art after leaving the military; moving to Los Angeles to pursue a career as an artist full-time; quitting painting and deciding to focus on sculpture; working at the Pasadena Art Museum, and how it disturbed him that there weren't any Black artists being represented in the shows he was installing there; getting involved with the Compton Communicative Arts Academy just as it was starting; and the present situation of the Compton Communicative Arts Academy and where he sees it going. He recalls Andy Warhol, Peter Alexander, Richard Serra, Robert Rauschenberg, Mark di Suvero, John Coplans, Judson Powell, Noel Puerefoy, Charles Dickson, Bobby Gilmore, and many others.
Biographical / Historical:
John Outterbridge (1933-2020) was an art administrator, painter, and sculptor from Los Angeles, California.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1959 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This transcript is open for research. No audio exists. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles Search this
An interview with Rosalyn Drexler conducted 2017 May 17 and June 2 by Christopher Lyon, for the Archives of American Art, at Garth Greenan Gallery in New York, New York.
Drexler discusses her childhood in the Bronx; her experiences studying dance and music; her higher education at Hunter College; attending films and the Yiddish Theater; meeting her husband Sherman Drexler; her time as a professional wrestler; her memories of traveling to the South and encountering Jim Crow segregation; she describes learning about art from Sherman Drexler and her joint exhibition with Sherman; her early work in sculpture; participating in Happenings with Jim Dine; joining Anita Reuben's gallery; her debut as a playwright; her experience writing "I am the Beautiful Stranger;" the changing public perception of her and being classified as an artist; her decision to become a painter and appropriating images for her work; the influence of S. J. Perelman on her plays; her play about Joseph Cornell and ballerina Allegra Kent, and interviewing Allegra Kent; her recent artwork and preparing for her 2017 show at Garth Greenan Gallery; her artwork from the 1980s and 1990s; her comedy writing and sense of humor. Drexler also recalls Chico Marx, Jack Newfield, Igor Youskevitch, Ivan Karp, Anita Reuben, Lucas Samaras, Richard Gilman, Al Carmines, Amiri Baraka, Barbara Ann Teer, Franz Kline, Elaine De Kooning, Bill de Kooning, Andy Warhol, Jack Kroll, Lawrence Alloway, Tom Hess, Barney Newman, Harold Rosenberg, Susan Sontag, Joe Hirshhorn, Henry Geldzahler, Donald Barthelme, Kornblee Gallery, Eva Hesse, Tom Doyle, William Klein, Marilyn Monroe, Alex Katz, Alice Neel, Basquiat, Saturday Night Live, and Lenny Bruce, among others.
Biographical / Historical:
Rosalyn Drexler (1926- ) is a sculptor, playwright, and novelist in New York, New York. Christopher Lyon (1949- ) is a writer in Brooklyn, 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:
Authors -- New York (State) -- New York Search this
Playwrights -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
17 Items (Sound recordings: 17 mini cassettes, analog)
Type:
Collection descriptions
Archival materials
Place:
Easter Island -- statues
Date:
2007-2009, undated
Scope and Contents:
Two interviews of Sam Green conducted by Jane Tippett and an unknown male, possibly Hugo Vickers.
Green speaks of his childhood in Mass., his family's early New England and New York antecedents, and his education at the Rhode Island School of Design. He reminisces about his early employment at the Green Gallery, which led to his introduction to Burton and Emily Tremaine and his first encounter with Andy Warhol. He further discusses being appointed director of the Institute of Contemporary Art in Philadelphia in 1965, where he staged Warhol's first retrospective, and his later appointment as a cultural advisor to New York City by Mayor John V. Lindsay. Green discusses organizing "Sculpture and Environment" exhibition, sponsored by the city, specifically the display of Barnet Newman's, "Broken Obelisk," (1963). Green discusses the installation of a large Eastern Island Moai Head, which he displayed in hopes of raising awareness to the planned conversion of Easter Island into a jet-refueling station. He discusses his real estate investments, specifically his home in Cartagena, Columbia, and an Upper East Side apartment. The remainder of the interview details Green's notable social relations with celebrity figures including Peter Allen and Liza Minnelli, Barbara Baekeland, Brigid Berlin, Cecil Beaton, Candy Darling, Cyrinda Foxe, Greta Garbo, and the Lennon-Ono family. He elaborates specifically on his relationship with Garbo, and his first encounter with Garbo at Cecile de Rothschild's home in the south of France. He also summarizes his work establishing the Landmarks Foundations, designed to preserve "sacred sites" on a global scale.
Biographical / Historical:
Sam Green (1940-2011) was an art dealer who was an early champion of Pop art. Jane Tippett is a biographer writing a book on Green.
Provenance:
Donated 2010 by Jane Tippett.
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.
9 Items (photographic prints, b&w, 44 x 34 cm. and smaller.)
Type:
Collection descriptions
Archival materials
Photographs
Date:
[1964-1975]
Scope and Contents:
Included are photographs of: Dorothy Dehner, Willem De Kooning, Edwin Dickinson, Red Grooms,Chaim Gross, Rafael Montanez Ortiz, George Segal, Moses Soyer, Raphael and Rebecca Soyer.
Biographical / Historical:
Dena (1910-1987) was a photographer from New York, N.Y. Full name Dinah Rubinstein.
Provenance:
Donated by Dena. It is unclear if the photographs were used in a publication or exhibition. The photographs were initially placed in AAA's Photographs of Artists Collection I and II, separated by artist depicted, and microfilmed on reels 439-441 and 1817-1818. They have been subsequently scanned and compiled together under Dena
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:
Photographers -- New York (State) -- New York Search this
An interview of Dennis Oppenheim conducted 2009 June 23-24, by Judith Olch Richards, for the Archives of American Art, at Oppenheim's studio, in New York, N.Y. Oppenheim speaks of his work in the past 15 years; the evolution of his work and its lack of continuity; his use of writing as a catalyst for constructing works and the importance of language in conceptual art; the role of the audience and the effects of positive reaction to one's work; the risks involved in moving away from successful work to find another avenue; experimentation and the ability to exhibit failures; the emotionality and detached qualities of Abstract Expressionism during the 1950s; the experimental side of studio art in comparison to public art; the seniority felt by fine artists over the applied arts, such as architecture, during the 1950s and 1960s; listening to the public opinion, including those that do not come from the art world; the theoretical progression of works such as, "Jump and Twist," [1999], and "Device to Root Out Evil," [1997]; how to react to controversial work; his lack of representation by galleries and dealers; his staff of assistants and his more theoretical role in the operation; his lack of fellowship with other artists and his dislike of collaboration; the Venice Biennale in 1997; the Olymics in Beijing in 2008; his current work and on-going commissions. Oppenheim also recalls Andy Warhol, Pierre Levai, Vito Acconci, Bruce Nauman, Robert Irwin, Richard Serra, Alice Aycock, Keith Sonnier, and Donald Lipski.
Biographical / Historical:
Dennis Oppenheim (1938- ) is a conceptual artist and sculptor in New York, N.Y. Judith Olch Richards (1947- ) is former executive director of iCI in New York, N.Y. Oppenheim was educated at California College of Arts and Crafts and Stanford University.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hrs., 31 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:
Transcript available on the Archives of American Art website.
Occupation:
Conceptual artists -- New York (State) -- New York -- Interviews Search this
Topic:
Sculptors -- New York (State) -- New York -- Interviews Search this
An interview of Henry Geldzahler conducted 1970 Jan. 27, by Paul Cummings, for the Archives of American Art. Geldzahler speaks of his youth and family background; his early interests; his education at Yale and Harvard; the decision to pursue an art career; working with the Metropolitan Museum of Art for Robert Beverly Hale; working with James Rorimer; his first exhibit; artists and curators he has been associated with; working with Roger Stevens at the National Endowment for the Arts; public interest in museums; working with Thomas Hoving; his opinion of critics; and how he selects works for exhibitions. He recalls Richard Bellamy, Harry Lowe, Lois Bingham, Robert Scull, Leo Castelli, Frank Stella, Andy Warhol, and Rene D'Harnoncourt.
Biographical / Historical:
Henry Geldzahler (1935-1994) was a curator in New York, N.Y.
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 others.
Topic:
Curators -- New York (State) -- New York -- Interviews Search this
Papers related to Tuchman's co-authoring with Emile de Antonio the book Painters Painting: A History of American Modernism in the Words of Those Who Created It (Abbeville Press, 1984). The book was based on uncut transcripts and the film script from de Antonio's 1972 film Painters Painting, inspired by the Museum of Modern Art's exhibition, New York Painting and Sculpture: 1940-1970, curated by Henry Geldzahler. Included are correspondence; transcripts of interviews conducted by de Antonio of painters, critics, curators, and collectors; notes; drafts of the book; and a subject card file.
Interviewees include: Josef Albers, Leo Castelli, Willem de Kooning, Helen Frankenthaler, Henry Geldzahler, Clement Greenberg, Thomas Hess, Jasper Johns, Philip Johnson, Hilton Kramer, Philip Leider, Robert Motherwell, Louise Nevelson, Barnett Newman, Kenneth Noland, Jules Olitski, Philip Pavia, Larry Poons, Robert Rauschenberg, Larry Rivers, William Rubin, Ethel and Robert Scull, Frank Stella, and Andy Warhol.
Biographical / Historical:
Tuchman is an author and editor; Los Angeles, Calif.
Provenance:
Donated 1994 by Mitch Tuchman.
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:
Art critics -- United States -- Interviews Search this
An interview of Ivan C. Karp conducted 1969 March 12, by Paul Cummings, for the Archives of American Art at the Leo Castelli Gallery.
Karp discusses the invention of the names "OK Harris" and "Green Gallery"; his work for Leo Castelli including gallery exhibitions, expenses, collectors, critics and staff; the work of Richard Artschwager, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, Cy Twombly, Gerry Vanderweil, Andy Warhol, and others; The Club; "soft art"; and the art market. He recalls Richard Bellamy, Ileana Sonnabend, Robert C. Scull, and others. Karp speaks of growing up in the boroughs of New York City, his reading and writing interests, commercial film making, his work for the Hansa Gallery and Martha Jackson, summers in Provincetown, Massachusetts, and the art scene in New York City in the late 1950s.
Biographical / Historical:
Ivan C. Karp (1926- ) is an art dealer and director of the OK Harris Gallery in New York, New York.
Provenance:
This interview is part of the Archives' 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Art dealers -- New York (State) -- New York Search this
Gallery directors -- New York (State) -- New York Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York Search this
An interview with Douglas Crimp, conducted 2017 January 3-4, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Crimp's home in New York, New York.
Crimp speaks of growing up in Coeur d'Alene, Idaho; his athleticism in water skiing and ice skating; sibling rivalry as a child; seeing art for the first time at the Seattle World Fair; being closeted and conflicted as a young gay man in 1950s Idaho; attending Tulane University in New Orleans and the culture shock he experienced there; his first year in Tulane's rigorous architecture program and ultimately changing his major to art history; the pageantry of Mardi Gras parades and the gay society he explored; writing an undergraduate paper analyzing Marcel Duchamp's "The Large Glass"; deciding to go to New York City; finding his voice as an art critic while beginning his career at Art News and Art International; his extensive analysis of Joan Jonas; attending Firehouse dances sponsored by Gay Activist Alliance and coming into his sexuality; being a patient of esteemed doctor Dr. Dan William; first learning of the AIDS crisis and epidemic through a New York Times article in 1981 describing a gay cancer; receiving an NEA art critic grant and spending a year in Germany from 1985-86; returning to find friends and acquaintances sick with HIV/AIDS or having died from it; the Dia Conversations; his role as editor of October and bringing queerness and AIDS to the forefront; joining ACT UP; the genesis of October's AIDS double issue in 1987-1988 and its success; how the journal issue changed the course of his career and steered him to teach gay studies and further his work with AIDS activism; the inner workings of ACT UP meetings; the sense of community ACT UP provided and the empowerment everyone felt; noting a sense of personal and professional urgency during the crisis; the timeline of his AIDS writings; his reaction to seeing the AIDS quilt for the first time at the March on Washington; writing to a wide, non-academic audience; his 1988 course at Rutgers University on AIDS video; his complex relationships with Rosalind Krauss and Annette Michelson; the poor coverage of the AIDS epidemic in the media and how it informed his writing; the understanding of the need for safe sex practices and writing "How to Have Promiscuity in an Epidemic;" teaching courses on AIDS at the University of Rochester and how his teaching interest evolved into queer theory and studies; evaluating Warhol's work with a queer lens; writing about his experience with queer life in New York City in the 1970s to counter the condescending conservative narrative; his current writing projects and interests; experience in demonstrations held by ACT UP; and the tremendous communal support he felt during his seroconversion. Crimp also recalls Marilynne Summers (Robinson), Bernard Lemann, Marimar Benetiz, Ida Kohlmeyer, Lynn Emory, Diane Waldman, Betsy Baker, Lucinda Hawkins, Christian Belaygue, Krzysztof Wodiczko, Rosalind Krauss, Joan Copjec, Gregg Bordowitz, Terri Cafaro, Rene Santos, Craig Owens, Fernando Torm, Bill Olander, Richard Elovich, Daniel Wolfe, Hector Caicedo, Lynne Cooke, and Zoe Leonard.
Biographical / Historical:
Douglas Crimp (1944- 2019) was a professor and art critic in New York, New York. Alex Fialho (1989- ) is a curator and arts writer who is the 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:
Art critics -- New York (State) -- New York -- Interviews Search this
Educators -- New York (State) -- New York Search this
Photocopies of documents, including various appraisals and testimony, sent to Stephen Weil, Deputy Director of the Hishhorn Museum and Sculpture Garden, by attorneys for the Estate of Andy Warhol, to be used by Weil in preparing for testimony as an expert witness on art valuation to the Surrogate's Court.
Appraisals include those prepared by Christie's Appraisals, Inc., for "Paintings, Sculpture and Collaborative Works," "60's, 70's, and 80's Drawings and Published Prints," "Photographs," "1950's Sketchbook-type Drawings," and "Unpublished/Unique Prints"; appraisals prepared by Michael Friend of "Films," and "Videotapes and Audiotapes"; an anaylsis of Christie's appraisals by Jeffrey M. Hoffeld, March 27, 1992, annotated by Weil; "date of death appraisals"; two photograph appraisals; Sotheby's draft appraisal; and two appraisals of property of Richard L. Weisman (gifts of works of art by Warhol to the Andy Warhol Foundation for the Visual Arts, Inc., February 10, 1992).
Testimony (including exhibits) regarding valuation of the estate is from Jeffrey M. Hoffeld, Dale W. Stulz, William N. Goetzmann, Edward Hayes, and Peter Hastings Falk. Also included is Preminger's decision "In the Matters of the Determination of Legal Fees Payable by the Estate of Andy Warhol," April 17, 1994.
Biographical / Historical:
Stephen Weil, former Deputy Director of the Hirshhorn Museum and Sculpture Garden and author of several books relating to law and art, served as an expert witness on art valuation questions for the Estate of Andy Warhol.
Provenance:
Donated 1996 by Stephen Weil. Weil died on August 09, 2005.
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.
An interview of Elaine Sturtevant conducted 2007 July 25-26, by Bruce Hainley and Michael Lobel, for the Archives of American Art, at the Archives of American Art, in New York, New York.
Sturtevant speaks of her exhibitions, Raw Power at Galerie Thaddaeus Ropac in Paris 2007; Cold Fear at the Anthony Reynolds Gallery in London, 2006; Brutal Truth at the Museum für Moderne Kunst, Frankfurt, Germany, 2004; America America at Galerie J in Paris in 1966; Sturtevant at the Bianchini Gallery in New York in 1965; and others. She also talks about her work Hate Kill Falsity, 2006; the process of installing shows to present a totality of work instead of individual pieces; the concept of "copy" and its misattributions in her art; her interest in opening minds and engendering thinking; her master's degree in language and interest in the writings of Gilles Deleuze and Michel Foucault; possessing confidence in her work to continue creating amidst years of misunderstanding and criticism; Abstract Expressionism and Pop art as catalysts in developing the philosophical concept of her work; frustration at being asked personal questions about the artists she was associated with; the reception of her art in Europe; using video as a medium to articulate visibility; and welcoming different interpretations of her work. Sturtevant also recalls Thaddaeus Ropac, Anthony Reynolds, Udo Kittelmann, Anselm Kiefer, Jasper Johns, Robert Rauschenberg, Andy Warhol, Hans-Ulrich Obrist, Beatrix Ruf, Claude Givaudan, Claes Oldenburg; Marcel Duchamp, Paul Maenz, Joseph Kosuth, and others.
Biographical / Historical:
Elaine Sturtevant (1924-2014) was a multi-media artist in Paris, France and New York, N.Y. Bruce Hainley is a writer from Los Angeles, California. Michael Lobel is an art historian from New York, New York.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 3 hr., 3 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.
A compendium of interviews for a project created by Kit Schwartz consisting of responses by 45 artists to the statement "People who live in glass houses should not throw stones" and responses from 90 artists to the question "Describe yourself as a person." Materials include sound recordings and corresponding transcripts of each response in two scrapbooks. Participants include Carl Andre, Arman, Robert Arneson, Sarah Charlesworth, Dan Graham, Ray Johnson, Ivan Karp, Joseph Kosuth, Nam June Paik, Andy Warhol, William Wegman, Lawrence Weiner, and others. Also included is a folder of background information on the project. The project was exhibited under the name "A New Portrait: A Semiographic Representation of Art During the Seventies" at the Marianne Deson Gallery, Ontario, Canada and the O.K. Harris Gallery, New York.
Biographical / Historical:
Kit Schwartz is a female author from Chicago, Illinois.
Provenance:
Transferred 2015 by Smithsonian American Art Museum, National Portrait Gallery Library via Anne Evenhaugen, Librarian.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview with George Condo conducted 2017 May 5 and June 20, by Christopher Lyon, for the Archives of American Art, at Condo's studio in New York, New York.
Condo speaks of his childhood and adolescence in New England; his Italian grandparents and heritage; his early obsession with drawing; the mathematical dimension of his mind; his Catholic upbringing and its influence on his art; exposure to literature, art, and music through his family; his decision to pursue visual art rather than music; the influence of jazz on his approach to making art; his understanding of tradition and originality; the influence of a wide range of literature on his approach to making art; dropping out of Mass College of Art; playing in a Boston punk rock band called The Girls in the late 1970s; moving to New York in 1981; working on Andy Warhol's silk-screening assembly line; moving to Los Angeles in 1982; being shown in Ulrike Kantor's gallery with Roger Herman's help; formative trips to Europe in the 1980s; important romantic relationships; changes in the New York art world in the 1990s; developing the concept of Artificial Realism; and his appreciation for the old masters of painting. Condo also recalls Dawn Clements, Keith Haring, Jean-Michel Basquiat, Devo, Mark Dagley, Rupert Smith, Fred Hughes, Susan Tyrrell, Gene Kelly, Willoughby Sharp, Walter Dahn, Bruno Bischofberger, and others.
Biographical / Historical:
George Condo (1957- ) is a contemporary visual artist working in New York, New York. Christopher Lyon (1949- ) is a publisher and writer in Brooklyn, 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.
An interview of Antonio Homem, conducted 2016 March 14 and 23, by James McElhinney, for the Archives of American Art at the Sonnabend Gallery in New York, New York.
Homem speaks of his early memories of art and his childhood in Portugal; going to museums in Paris and Spain; studying engineering at the ETH in Zurich, Switzerland; working in a gallery in Zurich; reading Proust; discussion of reading, understanding, and misunderstanding art and literature; meeting Ileana and Michael Sonnabend in 1965; subsequently working at the Sonnabend gallery from 1968; job responsibilities; opening galleries in New York in 1970 and 1971; Showing new artists, like Bruce Nauman, Vito Acconci, John Baldessari; Willoughby Sharpe, Shunk and Kender and the Pier 18 Project; the differences between collectors and gallery visitors of New York and Paris; the influence of the creation of the Centre Pompidou; his thoughts on the evolution of artistic taste; Duchamp; Pop art; Arte Povera; and evolution of art market from the 1970s to the present. Homem also recalls Ileana Sonnabend in detail, Robert Rauschenburg, Andy Warhol, Jean-Luc Godard, Michel Guy, Marcel and Giselle Boulois, Dr. Peter Ludwig, Count Panza, and others.
Biographical / Historical:
Antonio Homem is the director and owner of the Sonnabend Gallery in New York, New York. James McElhinney (1952- ) is a painter and educator of 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:
Gallery directors -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.
Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.
Biographical / Historical:
Dennis Adrian (1937- ) is an art critic, educator, and curator in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.
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:
Art critics -- Illinois -- Chicago -- Interviews Search this
An interview of Eleanor Ward conducted 1972 February 8, by Paul Cummings, for the Archives of American Art. Ward speaks of her family background and early interest in art; starting the Stable Gallery; the first Stable Annual Exhibition, 1953; Abstract Expressionist artists she showed; the success of the Stable Gallery's shows; her own collection; collectors; the gallery's move to 74th Street; the gallery scene in New York; finding new artists; the influence of critics; the reasons for the closing of the Stable Gallery. She recalls Joseph Cornell, Andy Warhol, and other artists.
Biographical / Historical:
Eleanor Ward (1912-1984) was an art dealer from New York, N.Y.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 13 min.
Provenance:
This interview is part of the Archives' 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 others.
Occupation:
Art dealers -- New York (State) -- New York Search this
