Quotes and excerpts must be cited as follows: Oral history interview with June Leaf, 2009 Nov. 16-2010 May 17. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Joyce Kozloff, 2011 Jul 12-13. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Sarah Edwards Charlesworth, 2011 November 2-9. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Marilyn Minter, 2011 Nov 29-30. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Mary Lucier, 2011 Sept. 27-30. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Petah Coyne, 2011 December 12-13. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Jane Hammond, 2012 Apr. 3-May 24. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Christy Rupp, 2012 July 16-17. Archives of American Art, Smithsonian Institution.
Topic:
Environmental artists -- New York (State) -- New York -- Interviews Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Janine Antoni, 2012 December 10-19. Archives of American Art, Smithsonian Institution.
An interview with Fanny Sanín conducted 2019 October 16-2020 July 24, by Fernanda Espinosa, at Sanín's studio in New York, New York.
Biographical / Historical:
Fanny Sanín (1938- ) is an geometric abstractionist painter in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and audio recording are 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 audio 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 audio recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
104 Pages (Transcript)
7 Items (sound files (5 hrs., 59 min.))
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2012 December 10-19
Scope and Contents:
An interview of Janine Antoni conducted 2012 December 10-19, by Judith Olch Richards, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Antoni's studio, in Brooklyn, New York.
Biographical / Historical:
Janine Antoni (1964- ) is a performance artist, sculptor, and photographer in Brooklyn, New York. Judith Olch Richards (1947- ) is former director of iCI in New York, New York.
General:
Originally recorded as 7 sound digital wav files. Duration is 5 hrs., 59 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Performance artists -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
An interview with Julia Santos Solomon conducted 2021 March 9-April 15, by Fernanda Espinosa, at Santos Solomon's studio in Woodstock, New York.
Biographical / Historical:
Julia Santos Solomon (1956- ) is an educator, painter, sculptor, digital artist, and textile and fashion designer in the Dominican Republic and Woodstock, New York.
Related Materials:
The Archives also holds the Julia Santos Solomon papers and an oral history interview with Santos Solomon conducted 2020 August 26 as a part of the Archives of American Art's Pandemic Oral History Project.
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.
An interview with Nanette Carter conducted 2021 November 22 and December 7, by Cheryl R. Riley for the Archives of American Art, at Carter's home and studio in Harlem, NY.
Biographical / Historical:
Nanette Carter (1954- ) is an African American artist and educator in New York, New York known for abstract collages that often incorporate Mylar. Carter's work often engages contemporary social issues including racial justice. She has taught at the Pratt Institute since 2001.
Related Materials:
The Archives of American Art also holds the Nanette Carter papers, 1972-2009.
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:
Mixed-media artists -- New York (State) -- New York Search this
Collagists -- New York (State) -- New York Search this
The Pen and Brush records date from 1894-1964, and include correspondence, catalogs and reports of exhibitions, a guest book, pamphlets describing the history and development of the organization, and a collection of scrapbooks.
Scope and Contents:
The Pen and Brush records date from 1894-1964, and include correspondence, catalogs and reports of exhibitions, a guest book, pamphlets describing the history and development of the organization, and a collection of scrapbooks.
Biographical / Historical:
Pen and Brush was founded in 1893 in New York, New York, by painters Mary and Janet Lewis. It served as an organization through which aspiring creative women, including professional women writers, painters, sculptors, and craftswomen, could connect and further their involvement in the arts. The club had a section for each of the following groups: Painters and Graphic Arts, Writers, Sculptors, Craftsmen, and Music, published a monthly newsletter, and held ongoing exhibitions. Writer Lillian Hamilton French was elected the club's first president, although health reasons prevented her from active service. A governing board managed the president's duties until 1899 when author and lecturer, Grace Thomas Seton, became the club's first active president.
Seton served for approximately 14 years and oversaw the club's incorporation in 1912 and the establishment of it's constitution and by-laws. Today, Pen and Brush operates as a publicly supported not-for-profit with the stated goal of "fighting for gender equity in the arts and providing a platform to showcase the work of women, non-binary and female-identified transgender artists and writers to a broader audience."
Provenance:
The records were loaned for microfilming in 1965 by Pen and Brush and were returned after microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the 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.
The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.
Scope and Content Note:
The papers of abstract artist Alice Trumbull Mason date from 1921 to 1977 and measure 1.3 linear feet. The collection documents her career as a painter, particularly her role as one of the founders of the American Abstract Artists group, through biographical materials; correspondence with family, friends, fellow artists, art galleries, museums, and organizations; writings and notes, including notebooks of poetry and other creative writings; a small amount of printed material; photographs of Mason, friends, and her artwork; and original artwork, including five sketchbooks.
Biographical material consists of resumes, passports, exhibition files, as well as documentation of her membership and active participation in art organizations, including her work as an officer in the American Abstract Artists group. Also found here are scattered personal financial and legal records. Personal and professional correspondence is with family members, including many detailed letters between her and her husband Warwood, fellow artists, including Paul Kelpe, art organizations, curators, museums, galleries, and others. Professional correspondence generally discusses selection of exhibition and awards, sale of artwork, and art events. Writings and notes, mostly from the 1920s and 1930s, consist of Mason's notes on art history and her creative writings, including poetry and "abstract writing." Also found are a few writings about abstract art and various notes and lists.
Printed material includes news clippings on topics of interest to Mason, and other miscellaneous items such as brochures, and exhibition announcements. Photographs include several portraits of Mason with her artwork, photographs of friends including artist Ibram Lassaw, photographs of an American Abstract Artists exhibition, and artwork by her and others. Original artwork found in this collection includes five sketchbooks belonging to Mason, including two that document her travels through Greece and Italy, and other loose drawings.
Arrangement:
The collection is arranged into 6 series:
Missing Title
Series 1: Biographical Material, 1925-1968 (Box 1, OV 3; 0.2 linear feet)
Series 2: Correspondence, 1922-1977 (Box 1; 0.4 linear feet)
Series 3: Writings and Notes, 1921-1965 (Box 1; 6 folders)
Series 4: Printed Material, 1936-1974 (Box 1; 2 folders)
Series 5: Photographs, 1920s-1967 (Box 1, OV 3; 5 folders)
Series 6: Artwork, 1924-1963 (Box 1-2, OV 3; 0.4 linear feet)
Biographical Note:
Alice Trumbull Mason was born in 1904 in Litchfield, Connecticut. Her mother, Anne Leavenworth Train, was an accomplished artist before she met Alice's father, William Trumbull, a descendent of the Revolutionary War era painter, John Trumbull. Alice spent much of her childhood in Europe with her family. From 1921 to 1922 they lived in Florence and Rome where she studied at the British Academy. In 1923 she continued her studies with painter Charles W. Hawthorne at the National Academy of Design in New York and from 1927 to 1928 attended courses at the Grand Central Art Galleries taught by Arshile Gorky. Gorky inspired her interest in abstract painting, and Mason painted her first non-objective works in 1929. In 1928 she returned to Italy and Greece and was greatly influenced by ancient art, Byzantium, and Italian primitives. She married Warwood Mason, a merchant seaman, in 1930 and her daughter Emily was born in 1932 and her son Jonathan in 1933. During this period she stopped painting and devoted her creative energy to writing poetry inspired by American avant-garde writers.
Mason began painting again in 1934 and was recognized as a key figure of American abstraction. In 1935 she met and became close friends with fellow artist Ibram Lassaw, and they, along with several other artists, began to meet on a regular basis which led to the first American Abstract Artists group exhibition in 1937. Mason remained very active in the group and served as treasurer in 1939, secretary from 1940 to 1945, and president from 1959 to 1963. She was also an activist for abstract art, protesting the decisions of the Museum of Modern Art several times for excluding abstract artists from exhibitions. During the 1940s her paintings and concept of "architectural abstraction" was influenced by the arrival of Piet Mondrian in New York. Also in the 1940s she had two one-woman shows, but throughout her career she felt there was a bias against women in the New York art world and most often she participated in AAA group shows. Her work would be viewed as an important bridge for future abstract and conceptualist artists. In 1958 her son died, and though she continued to paint and participate in exhibitions, she never recovered from this tragedy and in the late 1960s withdrew into seclusion until her death in 1971.
Related Material:
Also found in the Archives of American Art is a collection of interviews by Ruth Bowman of members of the American Abstract Artists group conducted between 1963-1965, that includes an interview with Alice Trumbull Mason. The Archives of American Art also houses 2.3 linear feet of the records of the American Abstract Artists group.
Separated Material:
A portion of the material donated by Alice Trumbull Mason in 1969 relating to her involvement with the American Abstract Artists was separated and filed with the American Abstract Artists records at the Archives of American Art. Files of news clippings about Mason and exhibition catalogs and announcements were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library after microfilming on reel 630 and are not described in the collection container listing.
Provenance:
A portion of this collection was donated by Alice Trumbull Mason in 1969. Additional material was donated from 1972 to 1977 by Mason's daughter, Emily Mason Kahn.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Authors -- New York (State) -- New York Search this
Alice Trumbull Mason papers, 1921-1977. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the digitization of this collection was provided in part by the Terra Foundation for American Art and The Walton Family Foundation.
An interview with Sheila Pepe conducted 2022 August 23-25, by John Corso-Esquivel for the Archives of American Art, at Pepe's home in Brooklyn, New York.
Biographical / Historical:
Sheila Pepe (1959- ) is a textile and installation artist in Brooklyn, New York, whose work advances feminist and queer community.
Related Materials:
The Archives also holds an oral history interview with Sheila Pepe conducted on 2020 August 5 for the Archives of American Art.
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:
Sculptors -- New York (State) -- New York Search this
Fiber artists -- New York (State) -- New York Search this
The Helen Gerardia papers measure 2.4 linear feet and date from circa 1945-1988. They illustrate her career through biographical and printed materials, scrapbooks, and photographic material.
Scope and Contents:
The Helen Gerardia papers measure 2.4 linear feet and date from circa 1945-1988. Biographical materials include Gerardia's resume, samples of her signature, miscellaneous correspondence to and from Gerardia with museums, galleries, and business colleagues, and biographical information for the publication Who's Who in American Art. Printed material consists of exhibition announcements and catalogs, news clippings, and various newsletters. Scrapbooks include various clippings, exhibition announcements, fliers, photographs, and other printed materials. Photographic material consists of photographs of Gerardia, the Yaddo Fellowship, and of Gerardia's artwork.
Arrangement:
This collection contains four series.
Series 1: Biographical Material, circa 1954-1973 (.1 Linear feet: Box 1)
Series 2: Printed Material, circa 1953-1971 (.1 Linear feet: Box 1)
Series 3: Scrapbooks, circa 1951-1988 (1.7 Linear feet: Boxes 1-6)
Series 4: Photographic Material, circa 1945-1975 (.5 Linear feet: Boxes 2 and 7)
Biographical / Historical:
Helen Gerardia (1903-1988) was a painter and printmaker who worked primarily in New York.
Gerardia was born in Ekaterinoslav, in what was then the Russian Empire, and immigrated to the United States to study under Hans Hofmann from 1946-1947. During her career she engaged in lithography and etching, while focusing on paintings as a medium. She was a participant in the abstract expressionist movement and during the 1950s shifted more towards the cubism movement. She frequently emphasized negative space in her works. Gerardia was a member of the Vectors Artist Group, and from 1967-1969 she was president of the American Society of Contemporary Artists. She exhibited her work at the Metropolitan Museum of Art, among other places. Gerardia died in 1988 in New York.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 59-60, 80, and 2812) including scrapbooks, a five-page resume, and samples of Gerardia's signature. Loaned materials were returned to the donor and later donated.
Provenance:
Materials on reel 2812 were lent for microfilming by Gerardia in 1961. Scrapbooks on reels 59, 60 and 80 were lent by Gerardia for microfilming in 1971 and nine were donated in 1981 along with another scrapbook (1971-1973). The remainder of the scrapbooks and papers were donated in 1989 by Gerardia's estate.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York Search this
Helen Gerardia papers, circa 1945-1988, Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.