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Cleve Gray papers, 1933-2005

Creator:
Gray, Cleve, 1918-2004  Search this
Subject:
Richter, Hans  Search this
Marin, John  Search this
Lipchitz, Jacques  Search this
Pollock, Jackson  Search this
Grace, Louise N.  Search this
Gray, Francine du Plessix  Search this
Duchamp, Marcel  Search this
Dillenberger, Jane  Search this
Gabo, Naum  Search this
Ernst, Jimmy  Search this
Davis, Jim  Search this
Calder, Alexander  Search this
Barzun, Jacques  Search this
Weber, Nicholas Fox  Search this
Smith, David  Search this
Villon, Jacques  Search this
Pratt Institute  Search this
Rhode Island School of Design  Search this
Neuberger Museum of Art  Search this
Jacques Seligmann & Co  Search this
Betty Parsons Gallery  Search this
Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this
Princeton University  Search this
Berry-Hill Galleries  Search this
Type:
Poems
Articles
Photographs
Reviews (documents)
Notes
Illustrations
Notebooks
Sketches
Drafts (documents)
Video recordings
Sound recordings
Interviews
Manuscripts
Paintings
Prints
Watercolors
Drawings
Lectures
Citation:
Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century -- United States  Search this
Vietnam War, 1961-1975 -- Protest movements -- United States  Search this
Designers  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9567
(DSI-AAA_SIRISBib)211768
AAA_collcode_grayclev
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211768
Online Media:

The Zorach family papers, 1900-1987

Creator:
Zorach family  Search this
Subject:
Zorach, Tessim  Search this
Ipcar, Dahlov  Search this
Cunningham, Imogen  Search this
Adams, Ansel  Search this
Zorach, Marguerite  Search this
Zorach, William  Search this
Partridge, Roi  Search this
Newman, Arnold  Search this
Brooklyn Museum  Search this
Art Students League (New York, N.Y.)  Search this
Type:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Artist couples  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Diaries  Search this
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6932
(DSI-AAA_SIRISBib)209061
AAA_collcode_zorazora
Theme:
Diaries
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209061
Online Media:

Regina Stewart papers, 1959-2010

Creator:
Stewart, Regina Serniak, 1942-  Search this
Subject:
Facci, Domenico  Search this
Candell, Victor  Search this
Blackburn, Robert Hamilton  Search this
McMurtry, Larry  Search this
Kennedy, Edward M. (Edward Moore)  Search this
Kuniyoshi, Sara Mazo  Search this
Stewart, Jack  Search this
New York Artists Equity Association  Search this
Type:
Photographs
Scrapbooks
Sketches
Citation:
Regina Stewart papers, 1959-2010. Archives of American Art, Smithsonian Institution.
Topic:
Costume designers  Search this
Painters -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Women arts administrators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)15834
(DSI-AAA_SIRISBib)292285
AAA_collcode_stewregi
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_292285
Online Media:

Three women orchid painters, three different centuries

Creator:
Smithsonian Gardens  Search this
Type:
YouTube Videos
Uploaded:
2022-02-09T23:29:59.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Gardens  Search this
See more by:
SmithsonianGardens
Data Source:
Smithsonian Gardens
YouTube Channel:
SmithsonianGardens
EDAN-URL:
edanmdm:yt_7nl4DvoBrSU

The Zorach family papers

Creator:
Zorach Family  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976  Search this
Ipcar, Dahlov, 1917-2017  Search this
Newman, Arnold, 1918-2006  Search this
Partridge, Roi, 1888-1984  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, Tessim  Search this
Zorach, William, 1887-1966  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Date:
1900-1987
Summary:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals 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 dealers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Weavers  Search this
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Artist couples  Search this
Artists' studios -- Photographs  Search this
Works of art  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Prints
Articles
Sketchbooks
Photographs
Drawings
Scrapbooks
Notes
Writings
Citation:
The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zorazora
See more items in:
The Zorach family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99b759247-30c2-4d06-9c75-1c7b0054f5d5
EDAN-URL:
ead_collection:sova-aaa-zorazora

Oral history interview with Edna Andrade

Interviewee:
Andrade, Edna, 1917-2008  Search this
Interviewer:
Likos, Patricia  Search this
Names:
Barnes Foundation  Search this
Easthampton Gallery  Search this
Pennsylvania Academy of the Fine Arts  Search this
Andrade, C. Preston (Clarence Preston), 1912-1977  Search this
Garber, Daniel, 1880-  Search this
Harding, George, 1882-1959  Search this
Oakley, Violet, 1874-1961  Search this
Extent:
114 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1987 April 1-29
Scope and Contents:
An interview of Edna Andrade conducted 1987 April 1-29, by Patricia Likos, for the Archives of American Art.
Andrade speaks of her upbringing in Virginia, her education at the Pennsylvania Academy of the Fine Arts in the 1930s under Daniel Garber, Henry McCarter, and George Harding; visiting the Barnes Foundation; her travels in Europe and Egypt and living and working as a teacher and a graphic designer in New Orleans, Washington, and Philadelphia. She discusses the influence of the Bauhaus and Paul Klee on her work and teaching, her marriage to C. Preston Andrade, working in the training and education division of the Office of Strategic Services during World War II, the shift in her work from realism to abstraction, her associations with the Easthampton Gallery in New York and the Marian Locks Gallery in Philadelphia, and changes in the Philadelphia art scene. She recalls Violet Oakley.
Biographical / Historical:
Edna W. Andrade (1917-2008) was a painter from Philadelphia, Pennsylvania.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 31 minutes.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Educators -- Pennsylvania -- Philadelphia  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.andrad87
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a1927de1-a025-414a-af38-77abe44e6683
EDAN-URL:
ead_collection:sova-aaa-andrad87
Online Media:

Regina Stewart papers

Creator:
Stewart, Regina Serniak, 1942-  Search this
Names:
New York Artists Equity Association  Search this
Blackburn, Robert Hamilton, 1920-  Search this
Candell, Victor, 1903-1977  Search this
Facci, Domenico, 1916-1994  Search this
Kennedy, Edward M. (Edward Moore), 1932-2009  Search this
Kuniyoshi, Sara Mazo  Search this
McMurtry, Larry  Search this
Stewart, Jack, 1926-2005  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Sketches
Date:
1959-2010
Summary:
Three scrapbooks, 1959-2010, assembled by Regina Serniak Stewart document her career as a costume designer, painter, board member and Executive Director of the New York Artists Equity Association.
Scope and Content Note:
Three scrapbooks, 1959-2010, assembled by Regina Serniak Stewart (b. 1942) document her career as a costume designer, painter, board member and Executive Director of the New York Artists Equity Association.

The scrapbooks contain: letters from Robert Blackburn, Victor Candell, Domenico Facci, Edward M. Kennedy, Sara M. Kuniyoshi, Larry McMurtry, Jack Stewart, and letters from various museums and galleries; costume sketches, 1963-1974, for the Paterson, New Jersey Lyric Opera Theatre; curriculum vitae, awards and profiles of the artist; photographs of Stewart, her work, and events; and printed material including clippings, articles, programs, brochures, flyers, and exhibition catalogs. The collection also includes some loose printed materials consisting of collectors' guides to kitchen utensils and stoneware co-written by Stewart and an article and exhibition catalog about her painting.
Arrangement:
The collection is arranged as 2 series:

Missing Title

Series 1: Scrapbooks, 1959-2010 (Boxes 1-2; 0.7 linear ft.)

Series 2: Printed Materials, circa 1977, 2003-2008 (Box 2; 0.1 linear ft.)
Biographical Note:
Regina Serniak Stewart (b. 1942), a painter, administrator, and writer in New York City is the Executive Director of the New York Artists Equity Association.

Stewart is a graduate of the Cooper Union School of Art and Achitecture whose paintings have been exhibited in New York and throughout the United States. In addition to painting, Ms. Stewart was a set and costume designer for the Paterson Lyric Opera Theatre, a jewelry designer, an art consultant, and an art instructor. She was elected to the board of the New York Artists Equity Association in 1989 and is now Executive Director.
Provenance:
Donated by Regina Stewart, July 27, 2010.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Arts administrators -- New York (State) -- New York  Search this
Collagists -- New York (State) -- New York  Search this
Topic:
Costume designers  Search this
Painters -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Women arts administrators  Search this
Genre/Form:
Photographs
Scrapbooks
Sketches
Citation:
The Regina Stewart papers. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stewregi
See more items in:
Regina Stewart papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw991eabbd1-1fe9-4c8a-9f1b-ad60e1abb865
EDAN-URL:
ead_collection:sova-aaa-stewregi

Biesel family papers, circa 1859-1983

Creator:
Biesel, family  Search this
Subject:
Richards, William Trost  Search this
Biesel, Charles  Search this
Biesel, Fred  Search this
Beisel, Frances Strain  Search this
United States. Works Progress Administration  Search this
Artists Equity Association  Search this
University of Chicago. Renaissance Society  Search this
Federal Art Project (Ill.)  Search this
Type:
Drawings
Sketchbooks
Citation:
Biesel family papers, circa 1859-1983. Archives of American Art, Smithsonian Institution.
Topic:
Modernism (Art)  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Women artists  Search this
Women painters  Search this
Theme:
Sketches & Sketchbooks  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9617
(DSI-AAA_SIRISBib)211824
AAA_collcode_biesfami
Theme:
Sketches & Sketchbooks
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211824

Max Cole papers, 1949-2021

Creator:
Cole, Max, 1937-  Search this
Charlotte Jackson Fine Art (Gallery)  Search this
Subject:
Haines Gallery  Search this
Schmidt Contemporary Art  Search this
Type:
Interviews
Citation:
Max Cole papers, 1949-2021. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Native American  Search this
Theme:
Women  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)22153
AAA_collcode_colemax
Theme:
Women
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22153

Oral history interview with Jane Piper, 1988 Jan. 16-17

Interviewee:
Piper, Jane, 1916-1991  Search this
Interviewer:
Wolanin, Barbara A.  Search this
Subject:
Carles, Arthur B.  Search this
Hofmann, Hans  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Jane Piper, 1988 Jan. 16-17. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)13201
(DSI-AAA_SIRISBib)211979
AAA_collcode_piper88
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_211979

Jane Piper papers

Creator:
Piper, Jane, 1916-1991  Search this
Extent:
0.2 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1943-1988
Scope and Contents:
Biographical information; class notes from a 2-dimensional painting class at the Philadelphia College of Art; a typescript from a lecture given by Piper; printed matter documenting her career; and photographs of her studio and of Piper with a painting.
Biographical / Historical:
Painter; Philadelphia, Pa. Died 1991.
Provenance:
Microfilmed in 1989 as part of AAA's Philadelphia Arts Documentation Project. Lent by Jane Piper.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Topic:
Painting, Modern -- 20th century -- History -- Pennsylvania -- Philadelphia  Search this
Women artists  Search this
Women painters  Search this
Identifier:
AAA.pipejane
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92328df60-678c-43a6-b80b-51c2425131d9
EDAN-URL:
ead_collection:sova-aaa-pipejane

Jackson Pollock and Lee Krasner papers

Creator:
Pollock, Jackson, 1912-1956  Search this
Krasner, Lee, 1908-1984  Search this
Names:
Betty Parsons Gallery  Search this
Martha Jackson Gallery  Search this
Benton, Thomas Hart, 1889-1975  Search this
Brooks, James, 1906-1992  Search this
Burkhardt, Rudy  Search this
Cavaliere, Barbara  Search this
Davis, Bill  Search this
De Kooning, Willem, 1904-1997  Search this
Dehner, Dorothy, 1901-1994  Search this
Eames, Ray  Search this
Forge, Andrew  Search this
Friedman, B. H. (Bernard Harper), 1926-  Search this
Glaser, Jane R.  Search this
Gray, Cleve  Search this
Greenberg, Clement, 1909-1994  Search this
Gruen, John  Search this
Holmes, Doloris  Search this
Isaacs, Reginald R., 1911-  Search this
Janis, Sidney, 1896-1989  Search this
Johnson, Philip, 1906-2005  Search this
Kadish, Reuben, 1913-1992  Search this
Maddox, Charles  Search this
Matter, Mercedes  Search this
McCoy, Sanford, Mrs.  Search this
Miller, Daniel  Search this
Miller, Robert, 1932 Apr. 17-  Search this
Motherwell, Robert  Search this
Namuth, Hans  Search this
Ossorio, Alfonso, 1916-1990  Search this
Pollock, Charles C.  Search this
Pollock, Jackson, 1912-1956 -- Photographs  Search this
Rose, Barbara  Search this
Rouche, Burton  Search this
Smith, Tony, 1912-  Search this
Still, Clyfford, 1904-  Search this
Valliere, James  Search this
Wasserman, Tamara E.  Search this
Wright, William  Search this
Zogbaum, Wilfrid, 1915-1965  Search this
Extent:
16.1 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Date:
circa 1914-1984
bulk 1942-1984
Summary:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.
Scope and Content Note:
The papers of abstract expressionist painters Jackson Pollock and wife Lee Krasner measure 16.1 linear feet and date from circa 1914 to 1984, with the bulk of the material dating from 1942 to 1984. The collection documents their personal and professional lives, as well as the legacy of Jackson Pollock's work after his death. Found are biographical material, correspondence, writings by Krasner and others, research material, business and financial records, printed material, scrapbooks, artwork by others, photographs, interview transcripts, audio and video recordings, and motion picture film.

The collection is divided into two series, the first of which focuses on Pollock and includes his scattered papers dating from circa 1914 to his death in 1956, as well as Krasner's papers dating from his death to 1984 about managing Pollock's legacy. This series includes biographical materials, including transcripts and audio recordings of an interview with William Wright in 1949; Pollock's and Krasner's correspondence with Thomas Hart Benton, Betty Parsons Gallery, Bill Davis, B. H. Friedman, Reginald Isaacs, Sidney Janis, Violet De Lazlo, Martha Jackson Gallery, Alfonso Ossorio, Tony Smith, and Clyfford Still, and with one another; Krasner's correspondence concerning Pollock's estate and artwork after his death; numerous writings about Pollock, including an original draft of Bryan Robertson's biography and an essay by Clement Greenberg.

James Valliere extensive research files on Pollock for a never-published biography were given to Krasner and filed in Series 1. These include scattered correspondence with Lee Krasner, and Pollock's family and friends, including Charles Pollock, Thomas Hart Benton, and Robert Motherwell. There are also transcripts of interviews Valliere conducted with Pollock's friends and colleagues, including James Brooks, Dorothy Dehner, Clement Greenberg, Reuben Kadish, Lee Krasner, Charles Maddox, Mrs. Sanford McCoy, Daniel T. Miller, Robert Miller, and Tony Smith. The original audio reels and duplicates exist for many and are filed here. Additional interviews were conducted with Willem de Kooning, Alfonso Ossorio, and Burton Rouche, but not transcribed - these are filed in Series 1.10, Audio Recordings and Motion Picture Film.

Also found in Series 1 are scattered business records documenting Krasner's handling of Pollock's estate and legacy; printed materials relating to Pollock, including published biographies, exhibition catalogs, and clippings; two scrapbooks; and a sketchbook by an unidentified artist. Numerous photographs of Pollock include childhood and family photographs, photographs of Pollock in his studio by Hans Namuth, Rudy Burckhardt, and Herbert Matter, photographs of Pollock with Lee Krasner, and exhibition photographs. Audio recordings and motion film in Series 1 include a 1964 16mm film about Pollock (VHS copies are available) and reel-to-reel recordings of untranscribed interviews of Pollock's friends and colleagues by James Valliere, including interviews with Willem de Kooning and Alfonso Ossorio. Additional transcribed interviews are filed in subseries 1.4.

Lee Krasner's papers documenting her own career are arranged in Series 2 and date from 1927-1984. Biographical materials include resumes and awards, school documents, family documentation, and exhibition lists. Her correspondence with artist friends and art colleagues is extensive and includes many letters from artists such as Philip Johnson, Ray Eames, Cleve Gray, and Hans Namuth. She also maintained correspondence with many art historians and critics, curators, gallery owners, collectors, arts-related and social organizations, admirers, and family members.

There are thirteen transcripts of interviews with Krasner by Bruce Glaser, Barbara Cavaliere, Andrew Forge, Emily Wasserman, Barbara Rose, and others. The original audio recordings for these transcripts are filed in series 2.10, along with other audio recordings for which there are no transcripts, including interviews by John Gruen, Delores Holmes, Mercedes Matter, the Martha Dean Radio Show, NBC Today Show, and WQXR radio. There are also audio recordings of Krasner's lectures in series 2.10.

Krasner's papers also include writings and reminiscences by Krasner; writings about Krasner; printed materials such as exhibition catalogs and clippings; and one scrapbook containing clippings and photographs. Numerous photographs are of Krasner, including portrait photographs taken by Hans Namuth; of Krasner with Jackson Pollock and family and friends, and of her exhibitions and artwork.

Users should note that Pollock's and Krasner's papers contain similar types of material that often overlap in subject matter, especially among the correspondence and photographs.
Arrangement:
The collection is arranged into 2 series:

Missing Title

Series 1: Jackson Pollock papers and Lee Krasner papers about Jackson Pollock, circa 1914-1984 (Box 1-7, 16, OV 18, FC 19-22; 7.4 linear feet)

Series 2: Lee Krasner papers, circa 1927-1984 (Box 7-15, 17; 8.6 linear feet)
Biographical Note:
Jackson Pollock was born in 1912, in Cody, Wyoming, the youngest of five sons. His family moved several times during his childhood, finally settling in Los Angeles. In 1930 he joined his older brother, Charles, in New York City, and studied with Regionalist painter Thomas Hart Benton at the Art Students League of New York. Pollock worked during the 1930s for the Works Progress Administration's Federal Art Project. During 1936 he worked in artist David Alfaro Siqueiros's Experimental Workshop. In 1938 he began psychiatric treatment for alcoholism, and his artwork was greatly influenced by Jungian analysis and the exploration of unconscious symbolism.

In 1943 Pollock had his first one-man exhibition at Peggy Guggenheim's New York gallery, Art of this Century, and continued to exhibit there over the next several years. A major turning point in Pollock's life and art was in 1945 when he married fellow artist Lee Krasner and moved to East Hampton, Long Island. There he developed his mature painting style, and became famous for his abstract pouring technique on large canvases. The height of his creativity spanned from 1947 to 1952, and his work was promoted by art critic Clement Greenberg. Along with other abstract expressionists including Hans Hofmann, Alfonso Ossorio, and Barnett Newman, he joined the Betty Parsons Gallery in 1947. He had his most successful one-man show in 1950 which was widely publicized and praised. This exhibition, combined with a 1949 feature article in LIFE magazine, made Pollock an American celebrity.

In 1952 Pollock moved his work to Sidney Janis Gallery and returned to earlier motifs in a search for new breakthroughs. The last few years of his life he suffered from mental and physical health problems, and in August, 1956 he died in a car accident. His wife, Lee Krasner, oversaw his estate and worked with many museums, including the Museum of Modern Art, on Pollock retrospective exhibitions.

Lee Krasner was born Lenore Krassner in 1908 in Brooklyn, New York to Russian immigrant parents. In 1926 she was admitted to the Women's Art School of The Cooper Union, and in 1928 she attended the Art Students League. After graduating from The Cooper Union in 1929, she attended the National Academy of Design until 1932. After briefly attending City College and Greenwich House, she worked for the Public Works of Art Project and the Temporary Emergency Relief Administration, and finally became an assistant in 1935 on the WPA Federal Art Project, Mural Division. From 1937 to 1940 she studied at the Hans Hofmann School of Fine Arts and began exhibiting with the American Abstract Artists group.

In 1942 Krasner met Pollock as they were both preparing to exhibit work in the same show. Although they married and she became immersed in his career, she continued to exhibit her own work with other abstract artists and from 1946 to 1949 worked on the Little Image painting series. In 1953 she began working on collages, a medium she would come back to again later in her career. After Pollock's death her work was greatly influence by her sadness and anger, creating a visible evolution of her style.

For the rest of her career, Krasner consistently exhibited her work in both group and solo exhibitions. She had her first retrospective at Whitechapel Gallery, London, in 1965, and in 1966, she joined Marlborough Gallery, New York which represented Pollock's work as well. In the 1970s and early 1980s Krasner won many awards for her achievement in the visual arts, including the Augustus St. Gaudens Medal and the Chevalier de l'Ordre des Arts et des Lettres. She returned to the medium of collage, and in 1976 joined the Pace Gallery, New York. In 1981 she joined the Robert Miller Gallery, New York. Lee Krasner continued creating art until her death in 1984.
Related Material:
Found in the Archives of American Art are the Charles Pollock Papers, 1902-1990, which includes correspondence, photographs, and other files relating to his brother, Jackson Pollock. Other resources in the Archives are oral history interviews with Lee Krasner, including a series of interviews conducted by Dorothy Seckler between 1964 and 1968, and interviews conducted by Barbara Rose in 1966 and Doloris Holmes in 1972.
Provenance:
The papers of Jackson Pollock were donated in 1983 by Lee Krasner through Eugene V. Thaw shortly before her death. Additional material about Pollock and the papers of Lee Krasner were donated in 1985 by Eugene V. Thaw, executor of Lee Krasner's estate.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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)  Search this
Topic:
Art -- Economic aspects  Search this
Abstract expressionism  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Motion pictures (visual works)
Video recordings
Photographs
Interviews
Sound recordings
Scrapbooks
Sketchbooks
Transcripts
Citation:
Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.polljack
See more items in:
Jackson Pollock and Lee Krasner papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ac60d2fa-adb8-4919-9ebb-ddef5dfaa3f8
EDAN-URL:
ead_collection:sova-aaa-polljack
Online Media:

Biesel family papers

Creator:
Biesel family  Search this
Names:
Artists Equity Association  Search this
Federal Art Project (Ill.)  Search this
United States. Works Progress Administration  Search this
University of Chicago. Renaissance Society  Search this
Beisel, Frances Strain, 1898-1962  Search this
Biesel, Charles, 1865-1945  Search this
Biesel, Fred, 1893-1954  Search this
Richards, William Trost, 1833-1905  Search this
Extent:
2.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
circa 1859-1983
bulk 1919-1983
Summary:
The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The papers document the careers of a Chicago family of artists, which included Charles Biesel, his son Fred Biesel and Fred Biesel's wife Frances Strain Biesel. Materials include biographical summaries, Fred and Frances Biesel's personal and professional correspondence, writings, and professional records documenting Fred Biesel's involvement with the Federal Arts Project and Frances Biesel's tenure as the director of the Renissance Society at the University of Chicago. Also found are scrapbooks with news clippings, printed materials, photographs of the Biesel family and their artwork, and artwork in the form of handmade Christmas cards, sketchbooks and loose figure sketches and small paintings.
Scope and Contents:
The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The papers document the careers of a Chicago family of artists, which included Charles Biesel, his son Fred Biesel and Fred Biesel's wife Frances Strain Biesel. Included in the papers are biographical material; correspondence; writings; professional files; personal business records; printed material; scrapbooks; photographic material and artwork. Correspondence contains letters to Frances and Fred Biesel regarding exhibiting artwork, project consultation, club membership and speaking engagements. Writings contains a notebook with addresses and price list notes; lecture notes and essay drafts by Fred Biesel on printmaking and art movements such as modernism and cubism, as well as essay typescripts and lectures by others. Also found is a short story about a meeting with Charles Biesel. Professional Files contain correspondence, funding proposals, business records and other materials related to the Biesel's management and participation in various organizations and project such as The Renaissance Society and Artist Union Chicago in Frances Biesel's case and Fred Biesel's involvement with the WPA's Federal Art Project's Illinois chapter, as well as his time as an art professor. The personal business records series contains Charles Biesel's deed lists, and printed material includes several exhibition catalogs related to the Biesel family and other artists, along with clippings and materials related to the Federal Arts Program. The papers also include two scrapbooks of clippings, photographs of the Biesel family, their friends and art associations, artwork, and exhibitions. Artwork is in the form of sketches, etchings, handmade christmas cards and small paintings.
Arrangement:
The collection is arranged as nine series

Series 1: Biographical Material, circa 1949-1961 (2 Folders: Box 1)

Series 2: Correspondence, circa 1927-1963 (0.1 Linear feet: Box 1)

Series 3: Writings, circa 1921-1960 (0.1 Linear feet: Box 1)

Series 4: Professional Files, circa 1939-1962 (0.5 Linear feet: Box 1)

Series 5: Personal Business, circa 1928-1961 (2 Folders: Box 1)

Series 6: Printed Material, circa 1897-1983 (1.5 Linear feet: Box 1-3)

Series 7: Scrapbooks, 1915-1931 (0.1 Linear feet: Box 3, OV 1)

Series 8: Photographic Material, circa 1919-1960 (0.3 Linear feet: Box 3)

Series 9: Artwork, circa 1876-1945 (0.4 Linear feet: Box 4)
Biographical / Historical:
The Biesel Family papers measure 2.9 linear feet and date from circa 1859-1983, with bulk dates from 1919-1983. The Biesel Family were a family of artists comprised of Charles Biesel, his son Fred Biesel, and Fred's wife Frances Strain Biesel.

Charles Biesel (1865-1945) was a marine painter who spent time apprenticing and working with the American Lithography Company in New York and Philadelphia before relocating to Newport, Rhode Island where he co-founded the Newport Art Association in 1912. In 1918, Charles Biesel moved to Chicago where he lived at the 57th street artist colony and was a member of the Arts Club of Chicago and the Chicago Society of Artists. He also helped found the Chicago No-Jury Society of Artists where he served as the organization's first secretary. Biesel exhibited work in several solo exhibitions across the United States; as well as with a group of other Chicago painters who exhibited work annually at the Art Institute of Chicago.

Fred Biesel (1893-1954) was a painter and art administrator born in Philadelphia in 1893 and raised in Newport, Rhode Island where he went on to study at the Rhode Island School of Design from 1913 to 1915. After serving in the U.S. Naval Reserve from 1916 to 1919, Biesel followed his father to Chicago and continued studying at the Art Institute of Chicago where he met his wife Francis Strain and painter John Sloan who wound up influencing them significantly and becoming a lifelong friend. Biesel exhibited at the Art Institute of Chicago, the Chicago Society of Artists, and the Society of Independent Artists. He also participated in museum exhibitions in Rhode Island, New York, New Mexico, and New Jersey. From 1935–1943, Biesel worked under the Federal Art Project, and served as director of Illinois Art and Craft Project from 1941–1943, as well as on the faculty of the Layton Art School in Milwaukee 1946–1953.

Frances Strain Biesel (1898-1962) was a painter and director of the Renaissance Society at the University of Chicago. A native of Chicago, Frances Strain Biesel was an important figure in the art scene of 1920s-1930s Chicago where she was involved in almost every independent exhibition and exhibition group that emerged during that time. Two of these groups included the Chicago No-Jury Society of Artists and the Ten Artists of Chicago, a collective characterized by their commitment to modernist ideals. Her work has been shown across the country, including the Chicago Society of Artists, the Whitney Museum and the Newark Museum.
Provenance:
Microfilmed material was donated in 1985 by Garnett Biesel, son of Fred and Frances Biesel. He later donated unmicrofilmed material in 1990, after it had been used in preparation for the book The Federal Art Project in Illinois, 1935-1943 (1990), by George Mavigliano and Richard Lawson.
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:
Marine painters -- Illinos -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Modernism (Art)  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Biesel Family Papers, circa 1859-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.biesfami
See more items in:
Biesel family papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw934594a62-5981-42c6-af0b-69aab802d235
EDAN-URL:
ead_collection:sova-aaa-biesfami

Doris Chase papers

Creator:
Chase, Doris, 1923-  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1954-1994
Summary:
The scattered papers of painter, sculptor, educator, and video artist Doris Totten Chase measure 0.2 linear feet and date from 1954 to 1994. Found are biographical material, photographs and slides, and printed material concerning Chase's career.
Scope and Contents:
The scattered papers of painter, sculptor, educator, and video artist Doris Totten Chase measure 0.2 linear feet and date from 1954 to 1994. Found are biographical material, photographs and slides, and printed material concerning Chase's career.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Doris Totten Chase (1923-2008) was a painter, sculptor, educator, and video artist, active in Washington State and New York City. Born in Seattle, Chase spent her early life in the Pacific Northwest where she was a member of the Women Painters of Washington. Chase was primarily a painter until the early 1970s when she began to focus on sculpture. In 1972, Chase moved to New York City where she began to create video art. She was one of the first video artists to lecture and show her work abroad under the auspices of the United States Information Agency.
Provenance:
Donated 1980 and 1997 by Doris Chase.
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
Sculptors -- New York (State) -- New York  Search this
Video artists -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Women educators  Search this
Women video artists  Search this
Citation:
Doris Chase papers, 1954-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chasdori
See more items in:
Doris Chase papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9693bacd2-a659-44e7-bb2d-40e091bc30bf
EDAN-URL:
ead_collection:sova-aaa-chasdori

Oral history interview with Lee Krasner

Interviewee:
Krasner, Lee, 1908-1984  Search this
Interviewer:
Seckler, Dorothy Gees, 1910-1994  Search this
Names:
United States. Work Projects Administration  Search this
Pollock, Jackson, 1912-1956  Search this
Extent:
79 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1964 Nov. 2-1968 Apr. 11
Scope and Contents:
Oral history interview with Lee Krasner conducted 1964 Nov. 2-1968 Apr. 11, by Dorothy Seckler, for the Archives of American Art.
Biographical / Historical:
Lee Krasner (1908-1984) was a painter in Easthampton, N.Y. and married to Jackson Pollock.
General:
Originally recorded on 2 sound tape reels and 2 sound tapes. Reformatted in 2010 as 5 digital wav files. Duration is 4 hrs.
Sound quality of the 1967-68 interview sessions is poor.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- New York (State) -- East Hampton  Search this
Topic:
Art -- Study and teaching -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Painting  Search this
Painting -- Technique  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.krasne64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90e599498-71e5-4d0f-bf99-03e4cf79ec43
EDAN-URL:
ead_collection:sova-aaa-krasne64
Online Media:

Max Cole papers

Creator:
Cole, Max, 1937-  Search this
Charlotte Jackson Fine Art (Gallery)  Search this
Names:
Haines Gallery  Search this
Schmidt Contemporary Art  Search this
Extent:
7.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1949-2021
Summary:
The papers of painter Max Cole (1937- ) measure 7.8 linear feet and date from 1949 to 2021. The collection comprises biographical materials containing curriculum vitae, writings by and about Cole, and recordings and transcripts of interviews; gallery files for Charlotte Jackson Fine Art, Haines Gallery, Schmidt Contemporary Art, and several galleries in Europe; professional files consisting of administrative records, sales and shipping reports, buyer and collector information, and chronological files containing mixed professional activity records; printed materials including clippings, exhibition announcements and catalogs, press binders, posters, and a few German publications; photographic materials contain photographs, slides, transparencies, negatives, and electronic discs containing portraits and self portraits of Cole, photos of her studios, photographs of locations by Cole, and works of art; and unidentified born digital materials.
Scope and Contents:
The papers of painter Max Cole (1937- ) measure 7.8 linear feet and date from 1949 to 2021. The collection comprises biographical materials containing curriculum vitae, writings by and about Cole, and recordings and transcripts of interviews; gallery files for Charlotte Jackson Fine Art, Haines Gallery, Schmidt Contemporary Art, and several galleries in Europe; professional files consisting of administrative records, sales and shipping reports, buyer and collector information, and chronological files containing mixed professional activity records; printed materials including clippings, exhibition announcements and catalogs, press binders, posters, and a few German publications; photographic materials contain photographs, slides, transparencies, negatives, and electronic discs containing portraits and self portraits of Cole, photos of her studios, photographs of locations by Cole, and works of art; and unidentified born digital materials.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Materials, 1967-2017 (0.8 linear feet; Box 1)

Series 2: Gallery Files, 1978-2021 (1.0 linear foot; Boxes 1-2)

Series 3: Professional Files, 1963-2021 (1.0 linear foot; Boxes 2-3)

Series 4: Printed Materials, 1963-2021 (3.0 linear feet; Boxes 3-5, OV 10)

Series 5: Photographic Materials, 1949-2018 (2.0 linear feet; Boxes 5-9)

Series 6: Unidentified Born Digital Materials, circa 2005-circa 2015 (22 electronic discs; Boxes 9)
Biographical / Historical:
Max Cole (1937- ) is a painter based in Las Vegas, New Mexico.

Cole was born in Kansas in 1937. She received a B.A. from Fort Hays State University in 1961 and a M.F.A. from the University of Arizona in 1964. After school, she began her art career in Los Angeles where she lived from 1964 to 1978. From 1978 until 2002, she lived in New York City. She was the recipient of the National Endowment for the Arts fellowship in 1983, was an artist in residence at the Roswell Museum and Art Center in 1995, and in 2009 she was a participant in the Artist's Meeting with the Pope in Vatican City. Her artwork is in the permanent collections of the Panza di Biumo Collection, Museum of Modern Art, Vatican Museum's Contemporary Art Collection, and other major museum collections. Cole is known for her neutral-toned, minimalist paintings. She cites Cherokee philosophy, imparted on her by her father who was half Cherokee, and time spent in the American Southwest as major influences in her artwork.
Provenance:
The papers were donated in 2022 by Max Cole.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Native American  Search this
Genre/Form:
Interviews
Citation:
Max Cole papers, 1949-2021. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.colemax
See more items in:
Max Cole papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4fae6da-3496-4ed9-8f4f-70f2563a28b2
EDAN-URL:
ead_collection:sova-aaa-colemax

Oral history interview with Jane Piper

Interviewee:
Piper, Jane, 1916-1991  Search this
Interviewer:
Wolanin, Barbara A. (Barbara Ann)  Search this
Names:
Carles, Arthur B., 1882-1952  Search this
Hofmann, Hans, 1880-1966  Search this
Extent:
43 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1988 Jan. 16-17
Scope and Contents:
An interview of Jane Piper conducted 1988 Jan. 16-17, by Barbara Wolanin, for the Archives of American Art. Piper speaks of her training at the Pennsylvania Academy of the Fine Arts, her studies with Arthur B. Carles and Hans Hofmann and of Carles' influence on her. Piper describes Carles' classes, his teaching methods, as well as Carles' stroke and his final unsuccessful attempt to exhibit at Princeton before his death. Piper speaks about her career as a teacher and as an artist, her exhibition history, her working methods and the development of her painting, particularly the importance of color and the move between abstraction and representational painting.
Biographical / Historical:
Jane Piper (1916-1991) was a painter from Philadelphia, Pa.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 1 hr., 2 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Interviews  Search this
Topic:
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.piper88
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw915e9aaf9-7a40-4e1d-957d-98f86f4d2458
EDAN-URL:
ead_collection:sova-aaa-piper88
Online Media:

Oral history interview with V. V. Rankine

Interviewee:
Rankine, V. V., 1920-2004  Search this
Interviewer:
Kirwin, Liza  Search this
Names:
Betty Parsons Gallery  Search this
Black Mountain College (Black Mountain, N.C.)  Search this
David Herbert Gallery  Search this
Institute of Contemporary Arts (Washington, D.C.)  Search this
Jefferson Place Gallery  Search this
Albers, Josef  Search this
Bader, Franz, 1903-1994  Search this
Brooks, James, 1906-1992  Search this
Callahan, Harry M.  Search this
Cunningham, Merce  Search this
Davis, Gene, 1920-1985  Search this
De Kooning, Elaine  Search this
De Kooning, Willem, 1904-1997  Search this
Denney, Alice  Search this
Dorrance, Nesta  Search this
Downing, Thomas, 1928-1985  Search this
Duncan, Augustin  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-1983  Search this
Gabo, Naum, 1890-1977  Search this
Gilliam, Sam, 1933-2022  Search this
Gorky, Agnes  Search this
Gorky, Arshile, 1904-1948  Search this
Graham, John, 1887-1961  Search this
Guston, Philip, 1913-1980  Search this
Halle, Kay  Search this
Hare, David, 1917-1992  Search this
Helburn, Theresa, 1887-1959  Search this
Johnson, Ray, 1927-1995  Search this
Kennedy, Kit  Search this
Kiesler, Frederick  Search this
Kinney, Gilbert H.  Search this
Krasner, Lee, 1908-1984  Search this
Lassaw, Ibram, 1913-2003  Search this
Leopold, Richard  Search this
Louis, Morris, 1912-1962  Search this
Magruder, Esther  Search this
Merrill, Kevin  Search this
Nelson, Wretha  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Bonnie  Search this
Noland, Kenneth, 1924-2010  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pace, Stephen, 1918-2010  Search this
Parsons, Betty  Search this
Penn, Arthur, 1922-  Search this
Phillips, Duncan, 1886-1966  Search this
Pollock, Jackson, 1912-1956  Search this
Rauschenberg, Robert, 1925-2008  Search this
Renault, Jean  Search this
Richman, Robert  Search this
Russo, Alexander  Search this
Sheridan, Walt  Search this
Sherman, Saul  Search this
Snelson, Kenneth, 1927-2016  Search this
Soyer, Moses, 1899-1974  Search this
Soyer, Raphael, 1899-1987  Search this
Sweeney, James Johnson, 1900-  Search this
Thomas, Dylan, 1914-1953  Search this
Truitt, Anne, 1921-2004  Search this
Warhol, Andy, 1928-1987  Search this
Yektai, Manoucher, 1922-  Search this
Youngerman, Jack, 1926-2020  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1990 Mar. 2-22
Scope and Contents:
An interview of V. V. Rankine conducted 1990 Mar. 2-22, by Liza Kirwin, for the Archives of American Art.
Rankine discusses the evolution of her nickname, V.V.; discovering her dyslexia; growing up in Boston; auditioning for a part in, "The Philadelphia Story"; her art studies with Amedee Ozenfant from 1944 to 1946; her studies at Black Mountain College with Josef Albers and Willem De Kooning in 1947; her friendship with Morris Louis and watching him work; living with her brother-in-law Arshile Gorky, in New York City; her first one-woman show at the David Herbert Gallery in New York in 1962; exhibiting at the Betty Parsons Gallery in New York and at the Jefferson Place Gallery in Washington, D.C.; Robert Richman and the Institute of Contemporary Arts; the relationship between her painting and her sculpture; favorite shapes and materials; and her summer home in East Hampton and artist friends there. Rankine also recalls Robert Rauschenberg, Jack Youngerman, Manoucher Yektai, Betty Parsons, Ibram Lassaw, Buckminster Fuller, Elaine De Kooning, Arthur Penn, Richard Leopold, John Cage, Merce Cunningham, Ken Noland, Morris Louis, Ray Johnson, Kenneth Snelson, David Hare, Frederick Kiesler, Raphael Soyer, Moses Soyer, Jean Renault, Agnes Gorky, Esther Magruder, James Johnson Sweeney, Jim Brooks, John Graham, Phillip Guston, Duncan Phillips, Theresa Helburn, Augustine Duncan, Tom Downing, Gene Davis, Alice Denney, Nesta Dorrance, Kevin Merrill, Sam Gilliam, Dylan Thomas, Kay Halle, Kit Kennedy, Naum Gabo, President Lyndon B. Johnson, Anne Truitt, Wretha Nelson, Franz Bader, Louise Nevelson, Andy Warhol, Jackson Pollock, Bonnie Newman, Alexander Russo, Walt Sheridan, Gilbert Kinney, Saul Sherman, Steve Pace, Lee Krasner, and others.
Biographical / Historical:
V.V. Rankine (1920-2004) was a painter and sculptor from Washington, D.C. Variable forms of the artist's name are notably E. R. (Elvine Richard) Rankine, Vivian Scott Rankine, and her married name, Mrs. Paul Scott.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hrs., 53 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Washington (D.C.)  Search this
Sculptors -- Washington (D.C.)  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.rankin90
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9962313c4-a6e1-43b3-b0a1-2b3ae06a7b90
EDAN-URL:
ead_collection:sova-aaa-rankin90
Online Media:

Hermine Benhaim Freed papers relating to Howard Putzel

Creator:
Freed, Hermine  Search this
Names:
Putzel, Howard, 1898-1945  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-1966
Summary:
The papers of Hermine Benhaim Freed measure 0.01 linear feet (7 items) and date from 1945 to 1966. The collection mostly consists of material Freed gathered about New York gallery owner Howard Putzel, such as Benhaim's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Freed, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel.
Scope and Contents:
The papers of Hermine Benhaim Freed measure 0.01 linear feet (1 folder) and consists of 7 items and date from 1945 to 1966. The collection mostly consists of material gathered about New York gallery owner Howard Putzel, such as Freed's paper on Howard Putzel, "Howard Putzel and the Beginnings of Abstract Expressionism," written for a Modern Art Seminar at New York University. Also included are letters to Freed, 1966, about Putzel from Joseph Allen, Peggy Guggenheim, Kenneth MacPherson and Gordon Onslow-Ford; and a typescript and a clipping of reviews of the exhibition "A Problem for Critics," 1945, organized by Putzel.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.

Series 1: Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966 (Folder 1; 7 items)
Biographical / Historical:
Hermine Benhaim Freed (1940-1998) was a painter and video artist in New York City. Freed studied painting at Cornell University and New York University, where she taught starting from the late 1960s.
Provenance:
The papers were donated to the Archives of American Art in 1972 by Hermine Benhaim Freed.
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 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
Video artists -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Abstract expressionism  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Citation:
Hermine Benhaim Freed papers relating to Howard Putzel, 1945-1966. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.benhherm
See more items in:
Hermine Benhaim Freed papers relating to Howard Putzel
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94bf840e1-82ca-4e2f-9abb-8b6b7b21dba8
EDAN-URL:
ead_collection:sova-aaa-benhherm
Online Media:

Ce Roser papers

Creator:
Roser, Ce  Search this
Names:
Women in the Arts Foundation, Inc  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1964-1979
Summary:
The scattered papers of painter and video artist Ce Roser measure 0.3 linear feet and date from 1964 to 1979. Found are biographical materials and two letters, a transcript of a lecture given by Roser from a conference, and printed materials.
Scope and Contents:
The scattered papers of painter and video artist Ce Roser measure 0.3 linear feet and date from 1964 to 1979. Found are biographical materials and two letters, a transcript of a lecture given by Roser from a conference, and printed materials.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Ce Roser (1925- ) is a painter and video artist in New York City, New York. Born Cecilia Roser, she co-founded Women in the Arts (WIA).
Provenance:
Donated 1979 by Ce Roser.
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
Video artists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women video artists  Search this
Citation:
Ce Roser papers, 1964-1979. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosece
See more items in:
Ce Roser papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw941f3e79a-9cda-4301-b3ca-1434ac29b146
EDAN-URL:
ead_collection:sova-aaa-rosece

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