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Jean Bergantini Grillo papers

Creator:
Grillo, Jean Bergantini  Search this
Names:
Boston Visual Artists Union  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-1974
Scope and Contents:
Papers concerning the arts in the Boston area consisting of letters received as art critic of THE PHOENIX, 1969-1972, notes for interviews and articles, press releases, exhibition announcements, invitations to openings, photographs of artwork and artists, and files, 1962-1974, on the Boston Visual Artists' Union and other Boston art organizations and events.
Biographical / Historical:
Art critic, writer, editor; Boston, Massachusetts and New York, N.Y.
Provenance:
Donated 1972-1979 by Jean B. Grillo.
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 -- Massachusetts -- Boston  Search this
Topic:
Art -- Massachusetts -- Boston  Search this
Women art critics  Search this
Identifier:
AAA.griljean
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw984de968f-ad48-4498-863a-3eb87b5e4bd0
EDAN-URL:
ead_collection:sova-aaa-griljean

Frances Cranmer Greenman papers

Creator:
Greenman, Frances Cranmer, 1890-1981  Search this
Names:
Albinson, Dewey, 1898-1971  Search this
Bridgman, George Brant, 1864-1943  Search this
Green, Howard  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Zorach, William, 1887-1966  Search this
Extent:
0.4 Items (linear ft. (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1925-1957
Scope and Contents:
36 personal and business letters received from artists, dealers, collectors, and friends, and one letter written by Greenman; the manuscript of Greenman's autobiography, HIGHER THAN THE SKY, 1954; eighteen exhibition catalogs and announcements; ca. 65 sketches and drawings in pencil, charcoal or ink, five lithographs, one gouache, a sketchbook of studies of the Rhine; 83 photographs of Greenman's works, among them 1 self-portrait and 1 portrait each of Dewey E. Albinson, George B. Bridgman, Howard Green, W. Elmer Schofield, and William Zorach ; and ca. 180 newspaper clippings. Among the correspondents are William Zorach, and his wife.
Biographical / Historical:
Critic, writer, portrait and figure painter; Minneapolis, Minn.
Provenance:
Donated 1958 by Frances Cranmer Greenman.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters -- Minnesota -- Minneapolis  Search this
Authors -- Minnesota -- Minneapolis  Search this
Art critics -- Minnesota -- Minneapolis  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women authors  Search this
Women art critics  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.greefrac
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b9d89449-26f9-4745-8327-7377b8709fe2
EDAN-URL:
ead_collection:sova-aaa-greefrac

Carolyn Kinder Carr papers

Creator:
Carr, Carolyn Kinder  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1969-1973
Scope and Contents:
Newspaper clippings of Carr's art criticiscm written for the Akron Beacon Journal in Akron, 1969-1973; letters from artists commenting on her art criticism, 1970-1972; and miscellany.
Biographical / Historical:
Curator; Washington, D.C.
Provenance:
Donated 2004 by Carolyn Carr.
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:
Curators -- Washington (D.C.)  Search this
Topic:
Women museum curators  Search this
Women art critics  Search this
Art criticism  Search this
Identifier:
AAA.carrcaro
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d7e1ba84-fe64-4607-9eb5-157fb3d04b7c
EDAN-URL:
ead_collection:sova-aaa-carrcaro

Piri Halasz papers

Creator:
Halasz, Piri  Search this
Names:
Greenberg, Clement, 1909-1994  Search this
Hayter, Stanley William, 1901-1988  Search this
Poons, Larry  Search this
Rattner, Abraham  Search this
Reinhardt, Ad, 1913-1967  Search this
Extent:
1.6 Linear feet
0.179 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Sound recordings
Date:
circa 1950-2017
Summary:
The papers of Piri Halasz are dated circa 1950-2017, and measure 1.6 linear feet and 0.179 GB. The collection consists of correspondence with Clement Greenberg and a number of well-known artists; writings including article and book manuscripts, drafts of lectures, talks, and born-digital presentations; interview transcripts and sound recordings; exhibition reviews; research; biographical material; photographs; and printed material documenting Halasz's activities as an art critic, writer and curator.
Scope and Content Note:
The papers of Piri Halasz are dated circa 1950-2017, and measure 1.6 linear feet and 0.179 GB. The collection consists of correspondence with Clement Greenberg and a number of well-known artists; writings including article and book manuscripts, drafts of lectures, talks, and born-digital presentations; interview transcripts and sound recordings; exhibition reviews; research; biographical material; photographs; and printed material documenting Halasz's activities as an art critic, writer and curator.

The series titled "Greenbergiana" contains various materials related to Greenberg, including an interview Halasz conducted with Greenberg in 1991, a questionnaire filled out by artist Pat Lipsky Sutton concerning Greenberg's ideas about her work, and items concerning his death and memorial services.

Correspondence contains letters from Anthony Caro, Helen Frankenthaler, Clement Greenberg, Jules Olitski, Larry Poons, Anne Truitt, and others. There is a folder of greeting cards, some with original artwork, from artists of her acquaintance. Also found is correspondence with publishers about articles submitted by Halasz for consideration. Photographs are of Halasz and colleagues.

Writings include drafts of published and unpublished articles about Pablo Picasso, Ad Reinhardt, Abraham Rattner, Jennings Tofel, Larry Poons, Stanley William Hayter, Morris Louis, Manhattan museums, Randy Bloom and other subjects. There are transcripts of lectures and talks given by Halasz, and transcripts of interviews she conducted with Stanley William Hayter and Randy Bloom. The series also contains a manuscript for her 1985 novel, The Artist's Widow and supplemental material related to her book, A Memoir of Creativity, 1956-2008. Born-digital material includes two PowerPoint presentations related to Halasz's lectures.

"A Year in the Life of Present Modernism," an exhibition curated by Halasz, was held in 1997-1998 at the Tribes Gallery, New York City. Documentation includes printed material, photographs, and biographical information about Halasz and participating artists.

A small amount of biographical material includes curricula vitae, identifications cards, drawings by Halasz, and photographs of Halasz at various stages in life.

Interviews include one transcript and nineteen sound recording on cassettes of artists, relatives of artists, historians, and curators. All interviews were conducted by Halasz as research for various writing projects. Interviewees include artists Randy Bloom, Frank Bowling, Stanley William Hayter, Larry Poons, Peter Reginato, Ann Walsh, and James Walsh.
Arrangement:
The collection is arranged as six series:

Missing Title

Series 1: "Greenbergiana," 1989-1996 (Box 1; 1 folder)

Series 2: Correspondence, 1968-2007 (Box 1, 3; 0.2 linear feet)

Series 3: Writings and Related Materials, 1966-2013 (Boxes 1-4, 1.1 linear feet; ER01, 0.179 GB)

Series 4: "A Year in the Life of Present Modernism," 1996-1998 (Box 2; 1 folder)

Series 5: Biographical Material, circa 1950-2017 (Box 4; 1 folder)

Series 6: Interviews, 1979-2004 (Box 4; 0.3 linear feet)
Biographical Note:
Piri Halasz (b. 1935) is an art critic, writer, lecturer, teacher, curator, and blogger who focuses on the New York art scene and politics from the 1940s to the present. She corresponded with a number of well-known artists; her long-standing association with Clement Greenberg is represented in her correspondence, articles and interviews.

Halasz, a native New Yorker, attended Barnard College where she majored in English literature. After her graduation in 1956, Halasz worked at Time magazine for six years as a researcher, primarily in business news, before being promoted to writer. For the next six years, she wrote articles covering a range of subjects including obituaries, celebrities, books, current trends, and world affairs. Her 1966 cover story for Time, "Swinging London," was a cultural snapshot of mid-1960s London that resulted in an invitation to write A Swinger's Guide to London. Published by Coward McCann in 1967, it was republished in 2010 as part of the Authors Guild "Back in Print" program.

In 1967 Halasz was assigned to write the art page of Time. Her 1969 article about Helen Frankenthaler attracted the attention of Clement Greenberg and they became close friends. Greenberg encouraged her to leave Time, which she did in 1969.

She returned to Columbia in 1974 to pursue graduate studies in art history and obtained her PhD in 1982; a substantial section of Halasz's dissertation was devoted to Greenberg's philosophy. Halasz has since pursued a career as an art critic, writer, lecturer, teacher, curator, and blogger. In 1996 she launched "From the Mayor's Doorstep," an online column of art criticism and politics which became a blog in 2010.

Halasz has taught at Columbia University, Hunter College, C. W. Post Center Long Island University, Molloy College, and Bethany College. She has published articles, primarily on art, in The New York Times, Smithsonian Magazine, The Virginia Quarterly Review, Arts Magazine, Art in America, ARTnews and NYArts.

Her self-published book, A Memoir of Creativity: Abstract Painting, Politics and the Media, 1958-2008 (iUniverse, 2009), is an insider's view of the publishing industry, the New York art scene and an explication of her theory of "multi-referential imagery. This theory posits that abstract painting refers to imagery that is unconsciously significant to the artist which then triggers recognition in the viewer.

Ms. Halasz lives and works in New York City.
Provenance:
Donated 2010 and 2017 by Piri Halasz.
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:
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Topic:
Women art historians  Search this
Women art critics  Search this
Women authors  Search this
Genre/Form:
Interviews
Sound recordings
Citation:
Piri Halasz papers, circa 1950-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halapiri
See more items in:
Piri Halasz papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw977207e32-05e7-4084-9ad7-66d3cf993456
EDAN-URL:
ead_collection:sova-aaa-halapiri

Helen L. Kohen papers

Creator:
Kohen, Helen L.  Search this
Names:
Alexander, Jane  Search this
Alfonzo, Carlos, 1950-1991  Search this
Algaze, Mario Arturo, 1947-  Search this
Anthony, Carol  Search this
Bedia, José, 1959-  Search this
Blaine, Michael  Search this
Blazer, Wendy  Search this
Brito, Maria, 1947-  Search this
Cano, Margarita, 1932-  Search this
Cano, Pablo  Search this
Carulla, Ramón, 1938-  Search this
Castagliola, Maria E., 1946-  Search this
Corone, Matthew  Search this
Couper, James M., 1937-  Search this
Cubiles, Miguel  Search this
De Monte, Claudia, 1947-  Search this
Delehanty, Suzanne, 1944-  Search this
Demi, 1955-  Search this
Duval-Carrié, Edouard, 1954-  Search this
Eisenstaedt, Alfred  Search this
Fernández, Agustin, 1928-  Search this
Frohnmayer, John  Search this
García, Fernando A., 1945-  Search this
Gelfman, Lynn Golub  Search this
Gillman, Barbara Seitlin, 1937-  Search this
González, Juan, 1942-1993  Search this
Gottlieb-Roberts, Marilyn Patricia, 1939-  Search this
Gutierrez, M. (Marta)  Search this
Henderson, Shirley  Search this
Jones, Pat  Search this
Juarez, Roberto, 1952-  Search this
Kardin, Janet  Search this
Kuitca, Guillermo, 1961-  Search this
Lanza, Bianca  Search this
Leibovitz, Annie, 1949-  Search this
Marisol, 1930-2016  Search this
Morgan, Andrew Wesley, 1922-  Search this
Muñoz, Celia Alvarez, 1937-  Search this
Orr-Cahall, Christina, 1947-  Search this
Paik, Nam June, 1932-  Search this
Paparelli, Janet  Search this
Pellon, Gina  Search this
Riverón, Enrique  Search this
Riverón, Noella  Search this
Rodriguez, Vivian  Search this
Rodríguez, Arturo, 1956-  Search this
Rojo, Damian  Search this
Rubell, Jason  Search this
Rubio, Lydia, 1946-  Search this
Salinas, Baruj  Search this
Sanchez, Emilio, 1921-1999  Search this
Schaaf, William  Search this
Scharf, Kenny  Search this
Scull, Haydée  Search this
Scull, Sahara  Search this
Shapiro, Joel  Search this
Slobodkina, Esphyr, 1908-2002  Search this
Spitzer, David D.  Search this
Strasser, Barbara  Search this
Sullivan, G. L.  Search this
Trasobares, César  Search this
Valdez-Fauli, Dora  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1978-1996
Summary:
The papers of Miami art critic Helen Kohen date from 1978 through 1996 and contain letters, postcards, exhibition announcements and invitations, and seventy-four untranscribed interviews of artists, dealers, and collectors in the Miami area.
Scope and Content Note:
The papers of art historian and critic Helen L. Kohen measure one linear foot and date from 1976 through 1996. They consist primarily of letters, postcards, exhibition announcements and invitations from artists in the Miami area. Also found are eighty-two mini cassette tapes of seventy-four interviews Kohen conducted with art dealers, collectors, contemporary artists, and others in the Miami area as research and background for her newspaper column and other articles
Arrangement:
The collection is arranged into five series:

Missing Title

Series 1: Correspondence, 1954, 1984-1993, undated (Box 1, 10 folders)

Series 2: Printed Material, 1979-1996, undated (Box 1, 3 folders)

Series 3: Photographs, 1969, 1974, 1980-1994 (Box 1, 1 folder)

Series 4: Miscellany, 1983-1992, undated (Box 1 , 1 folder)

Series 5: Taped Interviews, 1986-1996, undated (Box 1, 1 folder and 82 micro-cassettes)
Biographical Note:
Art historian and critic Helen L. Kohen has authored numerous articles on contemporary art focusing on the formation of the art culture in Miami since the early 1980s. Helen L. Kohen is art critic emeritus for the The Miami Herald newspaper in Miami, Florida.
Provenance:
Helen L. Kohen donated her papers to the Archives of American Art, Smithsonian Institution in 1997.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- Florida -- Miami  Search this
Topic:
Artists -- Haiti  Search this
Latino and Latin American artists  Search this
Women art critics  Search this
Cuban American artists  Search this
Artists -- Florida -- Miami -- Interviews  Search this
Artists -- Florida -- Miami  Search this
Art -- Florida -- Miami  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Helen L. Kohen papers, 1978-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kohehele
See more items in:
Helen L. Kohen papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e19f1645-ef4e-4dee-a68c-7a8f32c62220
EDAN-URL:
ead_collection:sova-aaa-kohehele

ArtTable, Inc. records

Creator:
ArtTable, Inc.  Search this
Names:
Artwire  Search this
Albers, Patricia  Search this
Lippard, Lucy R.  Search this
Tuchman, Phyllis  Search this
Weiss, Dorothy, 1921-  Search this
Extent:
1.4 Linear feet
90.41 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sound recordings
Interviews
Date:
1979-2013
Summary:
The records of non-profit organization ArtTable, Inc., measure 1.4 linear feet and 90.41 GB and date from 1979-2013. The collection includes administrative documents, correspondence, and printed material, as well as audiovisual and born-digital recordings and transcripts of interviews conducted by the organization as part of an oral history project on women in the art world.
Scope and Contents:
The records of non-profit organization ArtTable, Inc., measure 1.4 linear feet and 90.41 GB and date from 1979-2013. The collection includes administrative documents, correspondence, and printed material, as well as audiovisual and born-digital recordings and transcripts of interviews conducted by the organization as part of an oral history project on women in the art world.

Administrative records consist of board and committee meeting minutes; mailings to members that include newsletters, event schedules, and subscription slips; membership lists; ArtTable, Inc.'s biannual publication Artwire; and some miscellaneous clippings.

The interview portion of the collection consists of audiovisual material and transcripts, some in digital format, of interviews with gallery owners, art historians, art critics, and curators that were conducted for ArtTable's oral history project from 2000 to 2013. Interviewees include Patricia Albers, Lucy Lippard, Phyllis Tuchman, Dorothy Weiss and others.
Arrangement:
The collection is arranged as two series.

Series 1: Administrative Records, 1980-1994 (0.5 linear feet; Box 1)

Series 2: Oral History Interviews, 1979, 1999-2013 (0.9 linear feet; Boxes 1-2, 90.41 GB; ER01-ER28)
Biographical / Historical:
ArtTable, Inc. is a non-profit organization dedicated to advancing the business, financial, administrative, and scholastic leadership of women in the visual arts. Members include curators, museum administrators, art historians, and gallery owners. Founded in San Francisco, California in 1980, ArtTable, Inc. now has chapters throughout the United States.
Provenance:
The records were donated in multiple installments by ArtTable, Inc. from 1994-2014.
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 and 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.
Topic:
Women artists  Search this
Women art dealers  Search this
Women art critics  Search this
Function:
Arts organizations
Nonprofit organizations
Genre/Form:
Video recordings
Sound recordings
Interviews
Citation:
ArtTable, Inc. records, 1979-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arttabl
See more items in:
ArtTable, Inc. records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a002f09d-5794-4898-bc70-fba8a0465edb
EDAN-URL:
ead_collection:sova-aaa-arttabl

Lil Picard papers

Creator:
Picard, Lil  Search this
Names:
Art Workers Coalition  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1955-1972
Scope and Contents:
Catalogs; clippings; material relating to the feminist art movement in the U.S. and to the Art Workers Coalition; photographs; notes; and commentary on American and English writers and artists.
Biographical / Historical:
Art critic, performance artist, sculptor and painter; New York, N.Y.
Provenance:
Donated 1973 by Lil Picard.
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:
Performance artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Art criticism -- New York (State) -- New York  Search this
Women painters  Search this
Women performance artists  Search this
Women sculptors  Search this
Women art critics  Search this
Women performance artists  Search this
Identifier:
AAA.picalil
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dbcde8aa-ef25-465f-8375-164de85d6666
EDAN-URL:
ead_collection:sova-aaa-picalil

Oral history interview with Barbara Rose

Interviewee:
Rose, Barbara  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Names:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Stella, Frank  Search this
Extent:
7 Items (7 sound files (4 hrs., 57 min.), digital, wav )
120 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2010 June 25-September 22
Scope and Contents:
An interview with Barbara Rose conducted 2010 June 25-September 22, by James McElhinney, for the Elizabeth Murray Oral History of Women in the Visual Arts Project, at Rose's homes in New York City and Rhinebeck, NY.­
Biographical / Historical:
Barbara Rose (1938-2020) was an art critic and art historian 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.
Restrictions:
This interview is open for research. 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.
Occupation:
Art historians -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Women art historians  Search this
Women art critics  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.rose10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d6843971-c678-406e-9d6f-2ec08361458f
EDAN-URL:
ead_collection:sova-aaa-rose10

Rose Slivka papers

Creator:
Slivka, Rose  Search this
Names:
American Craft Council  Search this
Craft Horizons  Search this
Craft International  Search this
World Crafts Council  Search this
De Kooning, Elaine  Search this
Guston, Philip, 1913-1980  Search this
Kunitz, Stanley, 1905-2006  Search this
Larsen, Jack Lenor  Search this
Nevelson, Louise, 1899-1988  Search this
Slivka, David, 1913-  Search this
Voulkos, Peter, 1924-2002  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
20.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sound recordings
Video recordings
Date:
circa 1947-2006
Summary:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include views of Slivka, craftspeople she observed when traveling abroad, and artwork.
Scope and Contents:
The papers of craft expert Rose Slivka, an editor, writer, critic, and educator, measure 20.8 linear feet and date from circa 1947-2006. The papers reflect Slivka's work with associations and universities to encourage the recognition of crafts as an international and broadly defined art form. The routine business of publishing Craft Horizons magazine and the founding and operation of Craft International magazine are documented by correspondence and subject files. Correspondence is mainly professional with some scattered personal letters. Subject files concern various organizations, individuals and events related to Slivka's work and interests. Among the writings are manuscripts, notes, and research materials for her book about Peter Voulkos; also included are shorter writings on a variety of topics, poems, 2 diaries, lectures and talks. There are many interviews with craftspeople and artists conducted by Slivka and others, some undertaken as research for articles. Photographs include artwork, views of Slivka, and craftspeople she observed when traveling abroad.

Interviews with craftsmen and other artists were conducted by Rose Slivka and others. Peter Voulkos is espcially well-documented. Among the artists interviewed are: Elaine de Kooning, Philip Guston, Jack Lenor Larsen, Louise Nevelson, and David Slivka. Also found are intereviews with John Cage, Stanley Kunitz, and Rose Slivka.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1947-2005 ( Box 1; 0.6 linear feet)

Series 2: Correspondence, 1950-2004 (Boxes 1-4: 3.6 linear feet)

Series 3: Interviews, 1974-2001 (Boxes 5-6; 1.6 linear feet)

Series 4: Writings, Notes, and Related Research, 1954-2001 (Boxes 6-11, OV 23; 4.8 linear feet)

Series 5: Subject Files, 1958-2004 (Boxes 11-18, 22, OV 23; 7.4 linear feet)

Series 6: Printed Material, 1952-2006 (Boxes 18-20, OV 23; 1.9 linear feet)

Series 7: Photographs, circa 1947-1990s (Boxes 20-21; 1 linear feet)
Biographical / Historical:
Crafts expert Rose Slivka (1919-2004) was an editor, educator, and critic in New York City and East Hampton, NY. Slivka edited Craft Horizons magazine from 1957-1979, and then founded Crafts International, which published its first issue in 1980.

Rose Slivka was very active in the American Crafts Council and World Crafts Council, and promoted crafts by participating in conferences around the world, acting as a juror of competitions, writing, and teaching. The author of books and articles about crafts, including the entry on "Handicrafts" in the 1961 edition of Encyclopedia Britannica, Slivka was tireless in her search for information pertaining to crafts of all nations. Her study of the subject was integrated into a strong, far-reaching campaign to include sculpture as a craft and promote crafts on a par with fine art. She was also interested in poetry and taught courses in art criticism at New York University and the New School for Social Research.

Many of Slivka's articles on craft, painting and sculpture have been published in periodicals such as Art in America, Architectural Digest, and The New York Times. Books and exhibition catalogs include The Crafts of the Modern World (1964); The Object as Poet (1976), Renwick Gallery, Washington, DC; Peter Voulkos: A Dialogue in Clay (1978); California Clay (1979), Stedelijk Museum, Amsterdam; and The Book as Art and Artist (1979), Elaine Benson Gallery, Bridgehampton, NY. Slivka's writings have been translated into at least 7 languages.

Slivka was awarded the National Endowment for the Arts Critics Fellowship in 1976 and between 1980 and 1982 conducted a research project on "Criticism and Scholarship in Modern Craft" also sponsored by the National Endowment for the Arts. She was awarded The Rhode Island School of Design President's Fellows Award in 1982, and its highest honor, the Athena Medal. In addition, she served on the boards of directors for several New York City organizations including Clayworks Studio Workshop, New York Experimental Glassworks, and Center for Book Arts.

Following her career as a magazine editor, international speaker on crafts, writer, and educator, Slivka moved to East Hampton, Long Island, where she continued to write poetry and was art critic for The East Hampton Star newspaper.

Rose Slivka's was married to sculptor David Slivka; the couple had 2 children and eventually divorced. She died of heart failure in Southampton, NY, on September 2, 2004.
Provenance:
The Rose Slivka papers were donated to the Archives of American Art by Slivka's daughter, Charlotte Slivka, in 2008 and 2012.
Restrictions:
Use of original materials 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.
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:
Editors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Interviews  Search this
Women authors  Search this
Women art critics  Search this
Women educators  Search this
Genre/Form:
Photographs
Diaries
Sound recordings
Video recordings
Citation:
Rose Slivka papers, circa 1947-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.slivrose
See more items in:
Rose Slivka papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e61796b1-d82d-43f5-bf61-c595421a8fd0
EDAN-URL:
ead_collection:sova-aaa-slivrose

Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Missing Title

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- California -- San Francisco  Search this
Art historians -- California -- San Francisco  Search this
Authors -- California -- San Francisco  Search this
Topic:
Women art critics  Search this
Women art historians  Search this
Women authors  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cc490739-2463-4f67-9f43-570692783628
EDAN-URL:
ead_collection:sova-aaa-buttjan
Online Media:

Dore Ashton papers

Creator:
Ashton, Dore  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Faculty  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Yale University -- Faculty  Search this
Adams, Pat, 1928-  Search this
Adley, James, 1931-  Search this
Albee, Edward, 1928-  Search this
Albers, Josef  Search this
Arnheim, Rudolf  Search this
Avedon, Richard  Search this
Berthot, Jake, 1939-  Search this
Borges, Jacopo Luis  Search this
Congdon, Dennis  Search this
Cornell, Joseph  Search this
Diebenkorn, Richard, 1922-1993  Search this
Driskell, David C.  Search this
Giacometti, Alberto, 1901-1966  Search this
Guidieri, Remo  Search this
Guston, Philip, 1913-1980  Search this
Hellman, Lillian, 1905-1984  Search this
Herbert, George  Search this
Hiss, Alger  Search this
Howes, Barbara  Search this
Kaprow, Allan  Search this
Licht, Fred, 1928-  Search this
Lindner, Richard, 1901-  Search this
Malamud, Bernard  Search this
Miró, Joan, 1893-  Search this
Motherwell, Robert  Search this
Moy, Seong  Search this
Mumford, Lewis, 1895-1990  Search this
Oldenburg, Claes, 1929-  Search this
Reuterswärd, Carl Fredrik, 1934-  Search this
Sterne, Hedda, 1910-  Search this
Tinguely, Jean, 1925-  Search this
Tobey, Mark  Search this
Tworkov, Jack  Search this
Vasilikos, Vasilēs, 1934-  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
35.6 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Sketchbooks
Transcripts
Date:
circa 1928-2014
1849
Summary:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.
Scope and Contents:
The papers of Dore Ashton measure 35.6 linear feet and date from circa 1928-2014, with one letter in the Joseph Cornell subject file dating from 1849. The records document Dore Ashton's career as an art critic, historian and educator, with particular depth for the period of 1952 through 1990. The collection contains a small amount of biographical material, as well as correspondence, writings, subject files, printed materials, artwork, and reference photographs of artworks. An addition to the Dore Ashton papers includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material.

The bulk of the collection consists of correspondence with many artists, writers and others, including Pat Adams, James Adley, Rudolf Arnheim, Jake Berthot, Dennis Congdon, George Herbert, Remo Guidieri, Barbara Howes, Fred Licht, Joan Punyet Miro, Carl Fredrik Reuterswärd, and Hedda Sterne, among others. Smaller amounts of letters are from Joseph Albers, Edward Albee, Richard Avedon, Richard Diebenkorn, David Driskell, Alberto Giacometti, Philip Guston, Lillian Hellman, Alger Hiss, Bernard Malamud, Joan Miro, Robert Motherwell, Lewis Mumford, Claes Oldenburg, and Vassilis Vassilikos.

Writings consist of transcripts of miscellaneous articles or those written for various publications. Research files include reference or research materials for books, exhibitions, individuals and various topics. Individuals and topics include Jacopo Luis Borges, Allan Kaprow, Richard Lindner, Seong Moy, Jean Tinguely, Mark Tobey, Jack Tworkov, Adja Yunkers; and Dadaism, poetry and symbolism.

The addition to the Dore Ashton papers (Series 8) includes biographical material, correspondence, writings, writing project and subject files, teaching files, printed material, artwork and sketchbooks, and photographic material. Writings make up a significant part of the addition and contain hundreds of manuscripts, as well as lectures, notes, sixty notebooks, ten diaries, and writings by others. Writing project and subject files comprise over half of the addition and encompass a large collection of alphabetical files pertaining to artists, actors, writers, thinkers, and collaborators; work projects including writings, exhibitions, panels, symposia, and lecture series; as well as various other subjects and topics. The addition also contains teaching files related to Ashton's positions at the Cooper Union, the New School for Social Research, and Yale University. The photographic material in this series is also abundant and contains hundreds of original photographs of Ashton throughout all stages of her life, many with friends and family.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Materials, 1962-1978

Series 2: Correspondence, 1945-2010, undated

Series 3: Writings, 1952-1976, undated

Series 4: Research files, 1849, 1950-1984, 2009, undated

Series 5: Printed Materials, 1931-1981, undated

Series 6: Artwork, 1949, 1952, 1983, undated

Series 7: Photographs of Artwork, circa 1950-2010

Series 8: Addition to the Dore Ashton Papers, circa 1928-2013
Biographical / Historical:
Dore Ashton (1928-) is an art critic, author, and educator living in New York City. She wrote, contributed , and edited more than 30 books. Ashton was born in Newark New Jersey in 1928 and received an MA from Harvard University in 1950. Her many books and articles focus on late 19th and 20th century art and artists. Ashton was associate editor at Art Digest from 1952-1954, and critic for Arts and Architecture at the New York Times, 1955-1960. Starting in 1962 she held several lecturing posts at various institutions including the School of Visual Arts, Cooper Union, and the New School for Social Research. She was awarded a Guggenheim fellowship in 1964 and a National Endowment for the Humanities grant in 1980. Among Ashton's books are Abstract Art Before Columbus, 1956; Poets and the Past, 1959; A Joseph Cornell Album, 1974; Yes, But…A Critical Study of Philip Guston, 1976, About Rothko, 1983; The New York School: a Cultural Reckoning, 1973; Noguchi East and West, 1992; and David Rankin: The New York Years, 2013. Dore Ashton was the first critic to develop a comprehensive and eye-witness account of the history of the Abstract Expressions.

Ashton married artist Adja Yunkers (1900-1983) in 1953, and they had two daughters Alexandra (known as Sasha) and Marina. In 1985 she married writer Matti Megged (1923-2003).
Related Materials:
Among the holdings of the Archives is an oral history interview with Dore Ashton conducted November 21, 2010 by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts Project.

Dore Ashton papers are also located at Emory University Manuscript, Archives, and Rare Book Library.
Provenance:
The Dore Ashton papers were donated to the Archives of American Art by Dore Ashton May 27, 1982, May 8, 1997, June 2, 2011, and March, 25, 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Women art critics  Search this
Women art historians  Search this
Women authors  Search this
Women educators  Search this
Art criticism  Search this
Art, Modern  Search this
Art -- Study and teaching  Search this
Artists -- United States  Search this
Genre/Form:
Diaries
Photographs
Sketchbooks
Transcripts
Citation:
Dore Ashton papers, 1849, circa 1928-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ashtdore
See more items in:
Dore Ashton papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96b23d022-d02d-4a06-ba62-e34c59ad25ae
EDAN-URL:
ead_collection:sova-aaa-ashtdore
Online Media:

Oral history interview with Dore Ashton

Interviewee:
Ashton, Dore  Search this
Sampson, George E., 1951-  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Cooper Union for the Advancement of Science and Art -- Faculty  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Harvard University -- Students  Search this
New School for Social Research (New York, N.Y.) -- Students  Search this
New York Times Company  Search this
De Kooning, Willem, 1904-1997  Search this
Devree, Howard, 1891-1966  Search this
Guston, Philip, 1913-1980  Search this
Kline, Franz, 1910-1962  Search this
Klüver, Billy, 1927-2004  Search this
Motherwell, Robert  Search this
Orlovsky, Peter, 1933-2010  Search this
Paz, Octavio, 1914-  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reynal, Jeanne, 1903-  Search this
Rothko, Mark, 1903-1970  Search this
Selz, Peter Howard, 1919-2019  Search this
Smith, David, 1906-1965  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 November 21 - 2011 March 9
Scope and Contents:
An interview of Dore Ashton conducted 2010 November 21 and 2011 March 9, by George W. Sampson, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Ashton's home, in New York, New York.
Ashton talks about growing up politically active; protesting the internment of the Japanese Americans during WWII; attending The New School and then Harvard University; briefly working as a gallery receptionist; writing her first reviews for Art Digest; Howard Devree hiring her as a writer for The New York Times; travels and living in Europe; writing feature pieces about individual artists for The New York Times; writing for Cahiers d'art; her relationships Franz Kline, Willem de Kooning, Mark Rothko, Philip Guston, Robert Motherwell, Billy Kluver, Robert Rauschenberg, Octavio Paz, and others; marriage to Adja Yunkers; teaching at Cooper Union; interest in Latin American Art; flirting; being a "dedicated reader of Nietzsche"; visits to the Cedar Tavern; being a peacenik; and other topics. She recalls Jeanne Reynal, Mario Pedrosa, Alger Hiss, Peter Selz, Peter Orlovsky, David Smith, and others.
Biographical / Historical:
Dore Ashton (1928-2017) was an art historian in New York, New York. George W. Sampson (1951-) is an arts administrator in Charlottesville, Virginia.
General:
Originally recorded on 2 memory cards. Duration is 2 hr., 57 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.
Occupation:
Art critics -- New York (State) -- New York  Search this
Art historians -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Women art critics  Search this
Women art historians  Search this
Women authors  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ashton10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b7c38826-8734-452b-afbe-3303efd2db24
EDAN-URL:
ead_collection:sova-aaa-ashton10
Online Media:

Emily Genauer papers

Creator:
Genauer, Emily, 1910-2002  Search this
Names:
Aronson, David, 1923-2015  Search this
Bishop, Isabel, 1902-1988  Search this
Carnegie, Dorothy  Search this
Chagall, Marc, 1887-1985  Search this
Dalí, Salvador, 1904-  Search this
Davis, Stuart, 1892-1964  Search this
Graham, Martha  Search this
Guggenheim, Harry Frank, 1890-1971  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Still, Clyfford, 1904-  Search this
Tamayo, Rufino, 1899-  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
11.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Essays
Lectures
Transcriptions
Speeches
Photographs
Date:
circa 1920-1990
Summary:
The papers of art critic Emily Genauer measure 11.4 linear feet and date from circa 1920 to 1990. Found within the papers are correspondence with artists, gallery owners, and friends; extensive writings; research and reference files; personal business records; and photographs. Notable correspondents include David Aronson, Mrs. Max Beckman, Isabel Bishop, Dorothy Carnegie, Marc Chagall, Salvatore Dali, Stuart Davis, Martha Graham, Harry F. Guggenheim, Irene Rice Pereira, Clyfford Still, Rufino Tamayo, and Frank Lloyd Wright, among many others.
Scope and Contents:
The papers of art critic Emily Genauer measure 11.4 linear feet and date from circa 1920 to 1990. Found within the papers are correspondence with artists, gallery owners, and friends; extensive writings; research and reference files; personal business records; and photographs.

Notable correspondents include David Aronson, Mrs. Max Beckman, Isabel Bishop, Dorothy Carnegie, Marc Chagall, Salvatore Dali, Stuart Davis, Martha Graham, Harry F. Guggenheim, Irene Rice Pereira, Clyfford Still, Rufino Tamayo, and Frank Lloyd Wright, among numerous others. Extensive writings consist largely of drafts of columns written by Genauer and supporting research notes, as well as essays, speeches, lectures, book manuscripts, and memoirs. Research and reference files include source material for columns and essays. Personal business records document Genauer's work on committees and arts organizations, juries, awards, honors and also include interview transcripts and other personal scattered files. There is material regarding her leaving the New York World-Telegram. Printed material includes two of Genauer's books, magazines, newspaper clippings, and exhibition catalogs. Photographs are portraits of Genauer and of artwork.
Arrangement:
This collection is arranged as 6 series.

Missing Title

Series 1: Correspondence and Letters, 1938-1991 (Box 1, 12, 0.8 linear feet)

Series 2: Writings, circa 1930s-1990s (Box 1-3, 2.5 linear feet)

Series 3: Research and Reference Files, circa 1920s-1990s (Box 4-6, 2.6 linear feet)

Series 4: Personal Business Records, 1933-1992 (Box 6-7, 0.8 linear feet)

Series 5: Printed Materials, circa 1920s-1990s (Box 7-9, 12, 1.6 linear feet)

Series 6: Photographs, circa 1930s-1970s (Box 9-11, 12, 1.8 linear feet)
Biographical / Historical:
Emily Genauer (1911-2002) was a modern art critic and columinst working in New York City from 1932 until well into the 1980s. In 1974, she won the Pulitzer Prize for distinguished art criticism.

Genauer was born in 1911 in Staten Island. She attended Hunter College and Columbia University, majoring in Journalism. She began her writing career in 1929 with the New York World, which later became the New York World-Telegram. She became a strong advocate for modern art and sculpture and introduced modern artists like Marc Chagall and Diego Rivera to the newspaper audience. She also followed lesser known artists and often visited their studios, and they, in return, regularly read her articles and reviews of their shows.

Genauer left the New York World-Telegram in 1949 after a dispute with the owner who accused her writing as overly sympathetic to "Communists and left-wingers" and told her she could no longer write about Picasso. She immediately went to work as the art critic for the New York Herald Tribune, where she worked until 1967, when it folded. She then wrote a regular column for the Newsday Syndicate until the mid-1970s. She also worked for Harper's and in television and served on the council for the National Endowment for the Humanities from 1966 to 1970. Genauer was the author of a number of books, including The Best of Art, Chagall at the Met, and Rufino Tamayo.

Genauer passed away in 2002 in New York City at the age of 91.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel NG1) including 300 letters, photographs, and printed material. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Emily Genauer lent letters on reel NG1 for microfilming 1959. Constance Roche, daughter of Emily Genauer, donated additional papers in 2000 and 2003.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Topic:
Women art critics  Search this
Genre/Form:
Interviews
Essays
Lectures
Transcriptions
Speeches
Photographs
Citation:
Emily Genauer papers, circa 1920s-1990s. Archives of American art, Smithsonian Institution.
Identifier:
AAA.genaemil
See more items in:
Emily Genauer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fe4ef839-12c1-4272-b2a9-b443c96d360a
EDAN-URL:
ead_collection:sova-aaa-genaemil
Online Media:

Katharine Kuh papers

Creator:
Kuh, Katharine  Search this
Names:
Albright-Knox Art Gallery  Search this
Art Institute of Chicago -- Faculty  Search this
Biennale di Venezia  Search this
Katharine Kuh Gallery (Chicago, Ill.)  Search this
Adams, Ansel, 1902-1984  Search this
Albers, Josef  Search this
Albright, Ivan, 1897-1983  Search this
Archipenko, Alexander, 1887-1964  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Arp, Jean, 1887-1966  Search this
Barnet, Will, 1911-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Biddle, George, 1885-1973  Search this
Breuer, Marcel, 1902-  Search this
Calder, Alexander, 1898-1976  Search this
Campoli, Cosmo  Search this
Chagall, Marc, 1887-1985  Search this
Chavez Morado, José, 1909-2002  Search this
Chermayeff, Serge, 1900-  Search this
Cornell, Joseph  Search this
Cox, Richard  Search this
Davis, Stuart, 1892-1964  Search this
Day, Worden, 1916-1986  Search this
De Kooning, Willem, 1904-1997  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Dubuffet, Jean, 1901-  Search this
Duchamp, Marcel, 1887-1968  Search this
Elizabeth, Queen of Great Britain, II, 1926-  Search this
Ernst, Jimmy, 1920-1984  Search this
Falkenstein, Claire, 1908-1997  Search this
Feitelson, Lorser, 1898-1978  Search this
Friendly, Fred W.  Search this
Giacometti, Alberto, 1901-1966  Search this
Golub, Leon, 1922-2004  Search this
Goto, Joseph, 1920-  Search this
Grabe, Klaus  Search this
Graves, Robert, 1895-1985  Search this
Guggenheim, Peggy, 1898-  Search this
Guston, Philip, 1913-1980  Search this
Hare, David, 1917-  Search this
Hare, Denise Browne  Search this
Hayter, Stanley William, 1901-1988  Search this
Hirshhorn, Joseph  Search this
Hofmann, Hans, 1880-1966  Search this
Hélion, Jean, 1904-1987  Search this
Inverarity, Robert Bruce, 1909-1999  Search this
Johns, Jasper, 1930-  Search this
Johnson, Philip, 1906-2005  Search this
Johnson, Ray, 1927-  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kepes, Gyorgy, 1906-2001  Search this
Kepes, Juliet  Search this
Klee, Paul, 1879-1940  Search this
Kline, Franz, 1910-1962  Search this
Knox, Seymour H., 1898-1990  Search this
Le Corbusier, 1887-1965  Search this
Lundeberg, Helen, 1908-1999  Search this
Lye, Len, 1901-1980  Search this
Léger, Fernand, 1881-1955  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Millier, Arthur, 1893-  Search this
Moholy-Nagy, László, 1895-1946  Search this
Motherwell, Robert  Search this
Mérida, Carlos, 1891-1984  Search this
Nutting, Muriel Leone Tyler, b. 1892  Search this
Nutting, Myron Chester, 1890-1972  Search this
O'Higgins, Pablo, 1904-  Search this
Orozco, José Clemente, 1883-1949  Search this
Ozbekhan, Hasan, 1921-2007  Search this
Perkins, Frances  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Ray, Man, 1890-1976  Search this
Rich, Daniel Catton, 1904-1976  Search this
Rothko, Mark, 1903-1970  Search this
Sandberg, Carl  Search this
Seligmann, Kurt, 1900-1962  Search this
Shackelford, Shelby  Search this
Shahn, Ben, 1898-1969  Search this
Spaeth, Otto, d. 1966  Search this
Sterne, Hedda, 1916-  Search this
Stevenson, Adlai E. (Adlai Ewing), 1900-1965  Search this
Still, Clyfford, 1904-  Search this
Tanning, Dorothea, 1910-2012  Search this
Tobey, Mark  Search this
Winston, Harry Lewis  Search this
Woolf, Olga  Search this
Young, Victor  Search this
Photographer:
Pollack, Peter, 1909-1978  Search this
Extent:
12 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Date:
1875-1994
bulk 1930-1994
Summary:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.

Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.

Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.

There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.

Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.

Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.

Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.

Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.

Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.

Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.

Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.

Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.

Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.

Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.

Missing Title

Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)

Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)

Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)

Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)

Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)

Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)

Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)

Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)

Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.

Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.

After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.

In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.

After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.

In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.

A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.

Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- Illinois -- Chicago  Search this
Art historians -- Illinois -- Chicago  Search this
Art dealers -- Illinois -- Chicago  Search this
Topic:
Art, Abstract -- United States  Search this
Art, American  Search this
Art, Modern -- 20th century -- United States  Search this
Women art dealers  Search this
Women art historians  Search this
Women museum curators  Search this
Women authors  Search this
Women art critics  Search this
Function:
Art festivals
Genre/Form:
Illustrated letters
Resumes
Travel diaries
Minutes
Calendars
Visitors' books
Photographs
Paintings
Awards
Drawings
Sound recordings
Collages
Scrapbooks
Lithographs
Prints
Wills
Watercolors
Poetry
Lecture notes
Lectures
Sales records
Citation:
Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhkath
See more items in:
Katharine Kuh papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw987a0763e-de6c-4f9e-b143-4875b3a2244a
EDAN-URL:
ead_collection:sova-aaa-kuhkath
Online Media:

Alice Graeme Korff papers

Topic:
Washington post
Creator:
Korff, Alice Graeme, 1904-1975  Search this
Names:
O'Keeffe, Georgia , 1887-1986  Search this
Stieglitz, Alfred, 1864-1946  Search this
Watson, Forbes, 1880-1960  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca.1938]-1941
Scope and Contents:
Two letters of introduction from Forbes Watson; 2 letters from Alfred Stieglitz relating to Korff's review of an exhibition by Georgia O'Keeffe, 1938; a scrapbook of her articles and reviews; and reference catalogs and clippings filed under the letter "A."
Biographical / Historical:
Art critic; Washington, D.C. Wrote for The Washington Post under the byline Alice Graeme. Korff also was an administrator for the New Deal's short-lived Public Works of Art Project headed by Forbes Watson.
Provenance:
Donated 1992 by Mrs. William H. Boardman, Jr., daughter of Alice Graeme Korff.
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 -- Washington (D.C.)  Search this
Topic:
Art criticism -- Washington (D.C.)  Search this
Women art critics  Search this
Identifier:
AAA.korfalic
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97a47a1f7-eeae-4ed3-a300-18242b30d5ae
EDAN-URL:
ead_collection:sova-aaa-korfalic

Rudolph Weisenborn papers

Creator:
Weisenborn, Rudolph, b. 1881  Search this
Names:
Chicago No-Jury Society of Artists  Search this
Weisenborn, Fritzi  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1919-1977
Scope and Contents:
Biographical material, letters, business records, notes, writings, art works, scrapbooks, printed material, and photographs.
REEL 856: Biographical sketches; eighteen letters from colleagues, 1948-1965; records of expenditures, 1956-57; a travel log from a trip to Arizona; essays "The Freedom of the Artist" and "Diorama on Soil Erosion and Soil Conservation for the Tennessee Valley Administration" by Weisenborn, a poem "Fritzi and Rudolph"; 2 typed drafts of "Weisenborn and the American Vision" by John Thwaites (1946); notes from an exhibition at the Werner's Books Gallery.
16 sketchbooks, undated and 1947, and 15 sketches by Weisenborn; three scrapbooks, 1921-1956, containing clippings and art reviews written by Weisenborn's wife, Fritzi, exhibition announcements and catalogs, letters, and an autographed guest list from a party; clippings, 1937-1965; catalogs from 10 No-Jury Society exhibitions, 1922-1941; lecture announcements 1934, brochures; and photographs of Weisenborn, his studio, art-related events, and his works of art.
UNMICROFILMED: 4 biographical sketches and his marriage certificate; letters, 1919-1977; business and financial records, 1931-1972; 3 address books; essays by and about Weisenborn, including sections of "Weisenborn and the American Vision" by John Thwaites (1946); 2 children's drawings, a caricature sketch, and a print by Weisenborn; scrapbooks and scrapbook pages, containing clippings and reviews by his wife, 1938 and 1945-1946; clippings, 1920-1973; exhibition announcements and catalogs, 1922-1965, and other printed material; photographs and a photo album of Weisenborn, his family, studio, and works of art, including designs for department store windows; and a metal printing plate showing a newspaper photograph of Weisenborn and his wife.
Biographical / Historical:
Painter and art instructor; Chicago, Illinois. Died 1974. Taught at the Chicago Academy of Fine Arts, 1922-1934. Co-founder of Chicago No-Jury Society of Artists. Weisenborn's wife Fritzi, was art critic for Chicago's Sunday Times.
Provenance:
Material on reel 856 was lent for microfilming in 1974 and subsequently donated 1985 by Gordon Weisenborn with additional unmicrofilmed material. (Several items from 2 of the scrapbooks were not returned.)
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art critics -- Illinois -- Chicago  Search this
Art teachers -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Art -- Study and teaching -- Illinois -- Chicago  Search this
Painting, Abstract -- Illinois -- Chicago  Search this
Women art critics -- Illinois -- Chicago  Search this
Function:
Artists' studios -- Illinois
Genre/Form:
Drawings
Sketchbooks
Identifier:
AAA.weisrudo
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw919491eb0-0104-405e-ac57-15720dd81f0f
EDAN-URL:
ead_collection:sova-aaa-weisrudo

Florence Arquin papers

Creator:
Arquin, Florence  Search this
Names:
Art Institute of Chicago -- Faculty  Search this
Federal Art Project (Ill.)  Search this
United States. Department of State  Search this
Kahlo, Frida  Search this
Rebay, Hilla, 1890-1967  Search this
Rivera, Diego, 1886-1957  Search this
Williams, Samuel  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Extent:
8.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Sketches
Date:
1923-1985
Summary:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Scope and Contents:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.

Biographical materials include awards, biographical sketches and resumes, travel papers, identification cards, and ten address books.

The bulk of correspondence is comprised of letters written by Florence Arquin to her husband, Samuel Williams. These letters discuss her trips to Mexico in the 1940s, her role in the Kodachrome Slide Project, and her friendships with fellow artists Diego Rivera and Frida Kahlo, and others. Also found are copies of letters from Frida Kahlo and Diego Rivera to Florence Arquin.

Writings and notes include extensive research notes, notebooks, and notecards by Florence Arquin, primarly on Latin American art and culture. Also found is a draft of Arquin's work on Diego Rivera, Diego Rivera (1886-1957): The Shaping of an Artist (Early Period--1889-1921). Writings by others include a draft of a foreword by Diego Rivera, and writings by Jose de Souza Pedreira, and Hilla Rebay.

Teaching and project files include materials from Arquin's time teaching at the Art Institute of Chicago, her work with the the Federal Art Project at the Art Institute of Chicago and the Kodachrome Slide Project. Teaching files are scattered and include student papers, class outlines, and a lecture. The Federal Art Project at the Art Institute of Chicago files include a proposal and project reports. The Kodachrome Slide Project files include correspondence, receipts, reports, educational guides and materials, slide sequences, and printed material.

Printed material includes exhibition catalogs and announcements, clippings, booklets, travel guides, magazines, education journals, subject files on Diego Rivera and Frank Lloyd Wright, and blank postcards from Arquin's travels. There are extensive booklets and pamphlets published by the Pan American Union, and travel guides and educational guides for Latin America. Some printed material is in Spanish.

Photographs include portraits and snapshots of Florence Arquin, Diego Rivera, Frida Kahlo and others. Photos of Florence Arquin show her in her office, giving lectures, and at events with others. Photographs of works of art are by Frida Kahlo and Diego Rivera.

Artwork is scattered and includes a sketchbook by Florence Arquin with watercolor and pencil sketches and a print signed by de Diego.

There are four scrapbooks created by Florence Arquin. Scrapbooks may include photographs, writings, maps, and printed materials. Materials relate to the Federal Art Project at the Art Institute of Chicago, travel, and the Kodachrome Slide Project.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1939-1962 (0.4 linear feet; Box 1, 11)

Series 2: Correspondence, 1940-1985 (0.8 linear feet; Box 1-2)

Series 3: Writings and Notes, 1929-circa 1964 (2.0 linear feet; Box 2-4)

Series 4: Teaching and Project Files, 1930-1963 (1.4 linear feet; Box 4-5)

Series 5: Printed Material, 1923-1964 (1.8 linear feet; Box 5-7, 11)

Series 6: Photographs, 1929-circa 1960 (0.7 linear feet; Box 7, 11)

Series 7: Artwork, circa 1940-circa 1950 (2 folders; Box 7, 11)

Series 8: Scrapbooks, 1935-1956 (0.9 linear feet; Box 8-10)
Biographical / Historical:
Painter, photographer, educator, writer, and critic, Florence Arquin (1900-1974) was active in Chicago, Illinois. She was widely known for her expertise in the field of Latin American studies and had a close relationship with Frida Kahlo and Diego Rivera. From 1935 to 1939 she worked as administrator for the Federal Art Project in Illinois and joined the Art Institute of Chicago in 1939 to develop education programs aimed at secondary school students.

Florence Arquin was born in 1900 in New York City. She graduated from the Art Institute of Chicago where she studied art education. After, she undertook post graduate studies at the National University of Mexico. In the early 1940s Arquin traveled to Mexico to paint, where she developed friendships with Diego Rivera and Frida Kahlo. In 1943 a solo exhibition of her paintings at the Benjamin Franklin Library in Mexico City was highly praised by Rivera in the catalog introduction. Arquin's book Diego Rivera: The Shaping of an Artist, 1889-1921 about the artist's formative years, was published by the University of Oklahoma Press in 1971.

Arquin traveled extensively in South America, the United States, and Europe throughout her life. From 1945 to 1951 she traveled to Brazil, Bolivia, Peru, and Ecuador as Director of the Kodachrome Slide Project under the sponsorship of the Department of State. Arquin photographed aspects of life and culture and gave lectures at bi-national cultural institutions throughout those countries and in the United States. The project was part of an effort to provide educational agencies with visual aids in the field of Latin American studies.

Under another State Department grant, duplicates of Arquin's photographs were then made available for sale to institutions and individuals interested in the field of Latin American studies. The Metropolitan Museum of Art assumed responsibility for publicity, sale, and distribution of the slides from 1950 to 1955. Although few sales originated through the sales office of the Museum, Arquin managed to generate sales through her own efforts. In 1961 she applied for another grant to take control of the original slides and to add slides that she had taken on other visits to Latin America, Morocco, Spain, Portugal, and other European countries since then.

Florence Arquin died in 1974.
Provenance:
The collection was donated to the Archives of American Art by Samuel Williams, Arquin's husband, in 1991.
Restrictions:
The Florence Arquin 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.
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 -- Illinois -- Chicago  Search this
Photographers -- Illinois -- Chicago  Search this
Educators -- Illinois -- Chicago  Search this
Authors -- Illinois -- Chicago  Search this
Art critics -- Illinois -- Chicago  Search this
Topic:
Latino and Latin American artists  Search this
Art, Latin American  Search this
Women artists  Search this
Women painters  Search this
Women photographers  Search this
Women educators  Search this
Women art critics  Search this
Women authors  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Prints
Sketches
Citation:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arquflor
See more items in:
Florence Arquin papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw909303b02-1de7-44ba-8947-07b0fc7969fa
EDAN-URL:
ead_collection:sova-aaa-arquflor
Online Media:

Jane Sabersky papers

Creator:
Sabersky, Jane, 1911-1983  Search this
Names:
Albers, Josef  Search this
Berman, Eugene, 1899-1972  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
Mies van der Rohe, Ludwig, 1886-1969  Search this
Valentin, Curt, 1902-1954  Search this
Extent:
0.2 Linear feet ((on 3 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1940-1972
Scope and Contents:
Letters from and material on Curt Valentin and Eugene Berman; and photographs of artists and others.
REEL 1617: 67 photographs of artists, 1940-1970, collected by Sabersky, including photos of Sabersky, Perry Rathbone, Curt Valentin, Jean Arp, Alexander Calder, Harry Grier, Karl Kup, Henry Moore, Mies Van der Rohe, Andrew Ritchie, David Smith, Marion Willard, Max Beckmann, Hedda Sterne, Haus Sur, Mary Callery, Quappi Kaulbach, Peter Humphries, Dan Johnson, Marini, Sert.
REEL 3471: Nineteen letters from Eugene Berman, 1965-1970, and 1 letter from Leonid Berman, 1972 Dec. 28, thanking her for her letter of sympathy on Eugene's death. Eugene writes lengthy letters about such matters as: his feelings about breaking with Knoedler Gallery and where to go next; the relationship between the gallery and the artists; arrangements for exhibitions of his work; the works of Christian Berard; the proposed Neoromantic exhibition at Princeton; personal matters; requests for her assistance in various matters; and his unsuccessful show at Larcada Gallery. He refers to Joseph Kelleher, Robert Tobin, Nathan Cummings, Frank Lloyd and Harry Brooks.
REEL 3589: 35 letters from Curt Valentin; 9 drawings by Valentin; letters of condolence sent to Sabersky upon Valentin's death; typescripts of Sabersky's memorial tribute to Valentin, 1954; 10 handwritten poems written by Josef Albers; and letters from Alexander Calder, Henry Dreyfuss, Karl Kup, Constantino Nivola, Erwin Panofsky, and Saul Steinberg.
Biographical / Historical:
Art historian, curator, and writer.
Provenance:
Donated 1974-1981 by Sabersky.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Topic:
Women art critics  Search this
Women art historians  Search this
Art, Modern -- 20th century  Search this
Genre/Form:
Drawings
Identifier:
AAA.sabejane
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97bb64a49-867b-498c-bb52-d5de36a162f8
EDAN-URL:
ead_collection:sova-aaa-sabejane

Berryman family papers

Creator:
Berryman family (Washington, D. C.)  Search this
Names:
American Federation of Arts  Search this
Gridiron Club (Washington, D.C.)  Search this
Society of Washington Artists (Washington, D.C.)  Search this
Baruch, Bernard M. (Bernard Mannes), 1870-1965  Search this
Berryman, Clifford Kennedy, 1869-1949  Search this
Berryman, Florence Seville, 1900-1992  Search this
Berryman, James Thomas, 1902-1971  Search this
Berryman, Kate  Search this
Bryan, William Jennings, 1860-1925  Search this
Byrd, Harry Flood, 1887-1966  Search this
Clay, Henry, 1777-1852  Search this
Coolidge, Calvin, 1872-1933  Search this
Daniels, Josephus, 1862-1948  Search this
Darling, Jay N. (Jay Norwood), 1876-1962  Search this
Debs, Eugene V. (Eugene Victor), 1855-1926  Search this
Garner, John Nance, 1868-1967  Search this
Grosvenor, Gilbert Hovey, 1875-1966  Search this
Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this
Hays, Will H. (Will Harrison), 1879-1954  Search this
Hoover, Herbert, 1874-1964  Search this
Hoover, J. Edgar (John Edgar), 1895-1972  Search this
Lodge, Henry Cabot, 1850-1924  Search this
McCutcheon, John T. (John Tinney), 1870-1949  Search this
Mechlin, Leila, 1874-1949  Search this
Putnam, Brenda, 1890-1975  Search this
Reynolds, Joseph G., 1886-1972  Search this
Rogers, Will, 1879-1935  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Roosevelt, Theodore, 1858-1919  Search this
Taft, William H. (William Howard), 1857-1930  Search this
Truman, Harry S., 1884-1972  Search this
Wilson, Woodrow, 1856-1924  Search this
Extent:
11.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Illustrated letters
Diaries
Sketchbooks
Date:
1829-1984
bulk 1882-1961
Summary:
The Berryman family papers measure 11.4 linear feet and date from 1829 to 1984, with the bulk of the material dating from 1882 to 1961. The collection presents a good overview of the careers of Washington Star cartoonist Clifford Berryman, his daughter, Star art critic, Florence, and to a lesser extent, son Jim Berryman.
Scope and Content Note:
The Berryman family papers measure 11.4 linear feet and date from 1829 to 1984, with the bulk of the material dating from 1882 to 1961. The collection presents a good overview of the careers of Washington Star cartoonist Clifford Berryman, his daughter, Star art critic, Florence, and his son, Jim Berryman, though the latter's career is not as well represented. The papers also contain material relating to Kate Berryman, including a scrapbook and diaries.

The collection contains biographical material, correspondence, business records, notes and writings, scrapbooks, printed material, photographs, and artwork by Clifford and Jim Berryman and others.
Arrangement:
The collection is arranged into three series according to individual family members; each series is arranged into subseries and material within each subseries is arranged chronologically.

Missing Title

Series 1: Clifford and Kate Berryman papers, 1829-1963, undated (boxes 1-7, 11-12, OVs 14-15, 7.9 linear ft.)

Series 2: Florence Berryman Papers, 1902-1984, undated (boxes 8-10, 13, 2.3 linear ft.)

Series 3: Jim Berryman Papers, 1919-1964, undated (boxes 10, 13, 1.1 linear ft.)
Biographical Note:
The patriarch of the Berryman family, Clifford Kennedy Berryman, was born in Versailles, Kentucky, in 1869. His first job was in the U.S. Patent Office in Washington, D.C. He became a cartoonist for the Washington Post in 1891. From 1907, until his death in 1949, Clifford Berryman was political cartoonist for the Washington Star, earning a reputation as the "Dean of American Cartoonist," and winning a Pulitzer Prize in 1944. His cartoon of Theodore Roosevelt, "Drawing the Line in Mississippi," 1902, began the American Teddy Bear craze, and created Berryman's cartoon trademark. He was also the first cartoonist to become president of the Gridiron Club. His wife, Kate, was an avid member of the Daughters of the American Revolution.

Their daughter, Florence Berryman, 1900-1992, abandoned her study of music because of a loss of hearing and turned her attention to art. In the 1920s, she became a free-lance local art critic, writing articles for newspapers. She later assisted Leila Mechlin, as an art critic for the Washington Star. In 1946, Florence Berryman succeeded Mechlin and worked for the Star until her retirement in 1961. She also served as editor for the American Federation of Arts until 1944.

Clifford and Kate Berryman's son, James Thomas Berryman, 1902-1976, attended George Washington University and the Corcoran School of Art. He worked as a reporter for the New Mexico State Tribune, until his return, in 1923, to Washington, D.C. because of his mother's illness. He worked at the Washington Star, as an editorial artist and illustrator, until 1933, when he became a sports cartoonist. When his father suffered a storke in 1935, Jim intermittently drew political cartoons for the STAR. Jim Berryman also won a Pulitzer Prize for his political cartoons.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel D111) including a scrapbook of memorabilia, 1905-1945, collected by Kate Berryman regarding her husband. The scrap book includes letters from Bernard Baruch, William Jennings Bryan, Harry Flood Byrd, Jay Darling, John Nance Garner, Herbert Hoover, Henry Cabot Lodge, Harry Truman, and Woodrow Wilson; clippings; cartoons; printed material; and photographs of Clifford, family members, William Jennings Bryan, John Nance Garner, Brenda Putnam, and William Howard Taft. Though some items in the scrapbook were subsequently donated, lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Portions of the Berryman family papers were donated in 1965 by Florence Berryman, and in 1992 by her estate. The latter donation included portions of a scrapbook of memorabilia which had previously been lent for filming (reel D111) by Florence Berryman in 1962. The whearabouts of the other items in the scrapbook which were donated is unknown.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Cartoonists -- Washington (D.C.)  Search this
Art critics -- Washington (D.C.)  Search this
Topic:
Politicians -- Washington (D.C.)  Search this
Women art critics  Search this
Politicians -- Caricatures and cartoons  Search this
Political cartoons -- Washington (D.C.)  Search this
Caricatures and cartoons  Search this
Genre/Form:
Drawings
Illustrated letters
Diaries
Sketchbooks
Citation:
Berryman family papers, 1829-1984, bulk 1882-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.berrfami
See more items in:
Berryman family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fed62f5a-36ab-4346-8b56-209de14dbbde
EDAN-URL:
ead_collection:sova-aaa-berrfami
Online Media:

Joann and Gifford Phillips papers

Creator:
Phillips, Joann  Search this
Phillips, Gifford  Search this
Names:
Museum of Modern Art (New York, N.Y.)  Search this
Diebenkorn, Richard, 1922-1993 -- Photographs  Search this
Heon, Laura Steward  Search this
Motherwell, Robert -- Photographs  Search this
Reynolds, Jock  Search this
Woelffer, Emerson, 1914- -- Photographs  Search this
Interviewer:
Moorhus, Donita  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Interviews
Sound recordings
Date:
circa 1950-2011
Scope and Contents:
Correspondence, photographs, writings, interview transcripts, a sound recording, printed material and miscellany concerning the careers of art collectors Joann and Gifford Phillips.
Correspondence is both professional and personal. Photographs are of Richard Diebenkorn, Emerson Woelffer and Robert Motherwell.
Writings are by Gifford Phillips and include a 122 p. manuscript, undated, and an updated version (May 2007) describing his forty-year term as a trustee of the Museum of Modern Art in New York; a 23 p. manuscript "Notes on Frontier Magazine, A Memoir," 2009 in which Phillips writes about his experience starting Frontier magazine in California during the 1950s; "Collecting," 2009, a discussion about collecting art based on Phillips' personal experience; and a 16 p. typescript (with copy on CD), 2011, in which Phillip's writes about his involvement with the Pasadena Museum of Art.
The interview transcript is of a March 2004 interview with Joann and Gifford Phillips conducted by Donita Moorhus for the Phillips Collection in Washington, D.C. The sound recording is a conversation on CD recorded at a public event at SITE, a contemporary arts organization in Santa Fe, N.M., regarding the topic My Life in Art with SITE director Laura Heon, artist Jock Reynolds, and Joann and Gifford Phillips. Printed material includes scrapbooks and newspaper clippings. Miscellany includes appointment books.
Biographical / Historical:
Joann and Gifford Phillips are art patrons and collectors from Santa Fe, N.M. Gifford Phillips is the nephew of Duncan Phillips and a collector and founder of the Phillips Collection, Washington, D.C.
Provenance:
Donated 2003- 2011 by Joann and Gifford Phillips.
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.
Topic:
Collectors and collecting -- New Mexico -- Sante Fe -- Interviews  Search this
Women art critics  Search this
Genre/Form:
Scrapbooks
Interviews
Sound recordings
Identifier:
AAA.philjoan
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92403f254-7c9d-4818-baff-9407d2d58df1
EDAN-URL:
ead_collection:sova-aaa-philjoan

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