The Lee Nordness business records and papers measure 117.5 linear feet and date from circa 1931 to 1992 with the bulk of materials dating from 1954 to 1984. The records document seven New York City art-related companies with which Nordness was involved: Talent Discovery Company, The Little Studio, Ltd., American Art Expositions, Inc., Nordness Gallery, Inc., Lee Nordness Galleries Art Advisory Section, Inc., Lee Nordness Galleries Exhibition Section, Inc., and Forms & Objects, Inc. Records include correspondence, artist's files, business and legal records, inventories, financial and sales records, printed materials, scrapbooks, and photographic materials. Also found is a small group of personal papers.
Scope and Contents:
The Lee Nordness business records and papers measure 117.5 linear feet and date from circa 1931 to 1992 with the bulk of materials dating from 1954 to 1984. The records document seven New York City art-related companies with which Nordness was involved: Talent Discovery Company, The Little Studio, Ltd., American Art Expositions, Inc., Nordness Gallery, Inc., Lee Nordness Galleries Art Advisory Section, Inc., Lee Nordness Galleries Exhibition Section, Inc., and Forms & Objects, Inc. Records include correspondence, artist's files, business and legal records, inventories, financial and sales records, printed materials, scrapbooks, and photographic materials. Also found is a small group of personal papers.
More than half of the collection documents Lee Nordness' primary businesses, Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc. Business correspondence, artist's files, extensive project files, business and legal records, financial and sales records, inventories, printed materials, scrapbooks, and photographic materials reveal Nordness' role as an art dealer of contemporary American artwork and art consultant to companies and organizations. The records document his ability to adapt to changing external markets as well as his own interests, from dealing primarily in paintings and sculpture to promoting American fine crafts. Artists from Nordness' permanent roster are represented, including David Aronson, Al Blaustein, Alberto Collie, Ralston Crawford, Robert D'Arista, Kahlil Gibran, Ruth Gikow, Peter Grippe, Louis Guglielmi, Milton Hebald, Zubel Kachadoorian, James Kearns, Rico Lebrun, Julian Levi, Walter Meigs, Gregorio Prestopino, Hiram Williams, and Karl Zerbe. Companies and organizations represented include S.C. Johnson & Son, Co., Metromedia, and Cooper-Hewitt, National Museum of Design. Because materials from Nordness Gallery, Inc. and Art Advisory Section were often interfiled and related, the records were not separated into different series.
The records of Lee Nordness Galleries Exhibition Section, Inc. document the exhibition and sale of artwork through correspondence, artist's files, business records, financial and sales records, and scrapbooks for artists and exhibition seasons. Forms & Objects, Inc. contains correspondence, lecture notes, public relations files, business records, financial and sales records, scrapbooks and photographic materials related to American fine crafts.
The organization and press surrounding the monumental exhibitions Art:USA:58 and Art:USA:59 are illustrated in the correspondence, banking records, founding documents, newspaper clippings, paid bill receipts, and sales invoices of the American Art Expositions, Inc. records. Photographs of the Art:USA:59 artists taken by Fred Darrah are also found here.
The bulk of the records of The Little Studio, Inc. are financial records and sales invoices. Lee Nordness' involvement in the gallery is also documented through correspondence and business records. The records of Talent Discovery Company are primarily financial, including banking records, receipts, and tax records. Also found are shipping records, correspondence, and inventory cards.
There are few personal papers of Lee Nordness, the bulk of which are related to his involvement with his tenant cooperative. Also found is scattered correspondence, a scrapbook, and travel documents.
Records for the various companies were co-mingled upon accession. AAA has attempted to place papers in Nordness' original order based on discussions with Nordness and evidence from the records. However, researchers should note there is significant interfiling of the companies' records throughout the collection, especially scrapbooks and photographs. Researchers are strongly encouraged to use dates and keywords to help discover related materials throughout all series.
Abbreviations were often written by the gallery in the upper left-hand corner of a document to indicate to which company the record should be filed. Abbreviations used include: Nordness Gallery, "NG" or "LN"; Art Advisory Section, "AA" or "LN"; Exhibition Section, "ES" or "E/S"; Forms & Objects, "F/O"; American Art Expositions, "AAE"; The Little Studio, "TLS"; and, Talent Discovery Company, "TDC."
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Nordness Gallery, Inc. and Lee Nordness Galleries Art Advisory Section, Inc., circa 1938-1992, bulk 1958-1982 (67.8 linear feet; Boxes 1-67, 117-119)
Series 2: Lee Nordness Galleries Exhibition Section, Inc., 1938-1985 (25.5 linear feet; Boxes 68-93, 120, FC 122)
Series 3: Forms & Objects, Inc., circa 1931, circa 1959-1984 (13.5 linear feet; Boxes 93-106, 120)
Series 4: American Art Expositions, Inc., 1955-1968 (1.4 linear feet; Boxes 106-107)
Series 5: The Little Studio, Inc., 1947-1969 (7.7 linear feet; Boxes 108-115, 121)
Series 6: Talent Discovery Company, 1953-1957 (0.9 linear feet; Boxes 115-116, 121)
Series 7: Personal Papers of Lee Nordness, 1948-1976 (0.7 linear feet; Box 116)
Biographical / Historical:
New York City gallerist and entrepreneur Lee Nordness (1922-1995) was born in Olympia, Washington. He studied art in college and received a bachelor's degree from Uppsala University in Sweden. From 1954-1956, Nordness ran a small gallery, Talent Discovery Company, out of his apartment in New York City. Around 1955, Nordness became the director of The Little Studio, Ltd., a gallery started by Richard Kollmer in 1952 to showcase moderately priced artwork by young artists. Nordness took over the business in 1957; it closed in April 1963.
In 1958, Nordness incorporated American Art Expositions, Inc. to organize Art:USA:58, a large exposition of contemporary American art held at Madison Square Garden. The following year Art:USA:59 was held at the New York Coliseum.
Lee Nordness opened his own gallery, Nordness Gallery, Inc., in December 1957 on Madison Avenue. The gallery promoted a roster of contemporary painters and sculptors, including David Aronson, Al Blaustein, Alberto Collie, Ralston Crawford, Robert D'Arista, Kahlil Gibran, Ruth Gikow, Peter Grippe, Milton Hebald, Zubel Kachadoorian, James Kearns, Julian Levi, Walter Meigs, Gregorio Prestopino, Hiram Williams, Karl Zerbe, and the estates of Louis Guglielmi and Rico Lebrun. In 1966, Lee Nordness reorganized his businesses. He closed Nordness Gallery and opened Lee Nordness Art Advisory Section, an art consulting service to corporations, collectors, museums, and individuals, and Lee Nordness Galleries Exhibition Sections, Inc. to handle exhibitions and the sale of paintings and sculptures.
Lee Nordness had an interest in American crafts and, beginning in 1968, he added a permanent roster of American craftmakers to exhibit alongside paintings and sculpture. He opened Forms & Objects, Inc. to handle the exhibition and sales of fine crafts such as ceramics, fiber, glass, metal and wood. With a need for additional exhibition space, the gallery moved a few blocks off Madison Avenue to 236-238 East 75th Street.
Nordness traveled the globe to assemble prominent collections for clients, such as Art:USA, a collection of contemporary works by 102 American artists for S.C. Johnson & Son, Inc. Art:USA traveled throughout the United States and Europe in the mid-late 1960s before being donated to the National Collection of Fine Arts (Smithsonian Institution). In the late 1960s, he assembled a collection of 300 American craft objects for S.C. Johnson & Son, Inc. called Objects:USA, which toured throughout the United States and Europe. This collection was disassembled in the late 1970s, many of the works donated to the Museum of Arts and Design, formerly the Museum of Contemporary Craft.
Nordness closed his New York galleries in the mid-1980s. Soon after, he moved to Belfair, Washington and opened Lee Nordness Galleries, Inc. in 1986. He passed away in 1995 in Washington.
Separated Materials:
Three microfilm reels of material were loaned to the Archives of American Art by Lee Nordness in 1959 regarding American Art Exposition, Inc.'s Art:USA 58 and Art:USA:59. Microfilm includes correspondence, catalogs, visitor lists, press releases, lists of artwork, financial records, and advertising materials and is available on reels NAU1, NAU2 and NAU3.
Later, in 1964 and 1969, Lee Nordness loaned original materials for microfilming compiled by Nordness Gallery about the careers of Gregorio Prestopino, Julian E. Levi, and Lee Gatch, including correspondence, exhibition materials, biographical information, clippings, and photographs. Loaned material is available on reels N69-21 and D169. Original materials were returned to Nordness, but some may have been included in later donations and those originals have been integrated with the other donated records.
The contents of microfilm reels are not described in the container listing of this finding aid.
Provenance:
The Lee Nordness business records and papers were donated to the Archives of American Art in several increments by Lee Nordness in 1976, 1986 and as a bequest in 1996. Original materials were also lent by Nordness in 1964 and 1969 for microfilming, some of which may have been included in subsequent donations.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- New York (State) -- New York Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
Use 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.
The papers of German American painter and educator Karl Zerbe measure 5.1 linear feet and date from 1928 to 1996. The papers document Zerbe's career through biographical material, writings and journals, art gallery records, financial records, printed material, photographs, documentary film materials, and home movies.
Scope and Contents:
The papers of German American painter and educator Karl Zerbe measure 5.1 linear feet and date from 1928 to 1996. The papers document Zerbe's career through biographical material, writings and journals, art gallery records, financial records, printed material, photographs, documentary film materials, and home movies.
The collection consists of papers related to Zerbe's estate, exhibitions, and associations, along with ephemera such as address books and awards; daily journals used by both Zerbe and his wife, Marion; biographical essays written about Zerbe, and some painting descriptions. Also included are papers related to the various galleries Zerbe dealt with such as the Downtown Gallery, Foster Harmon Gallery, Nordness Gallery, and Robert C. Vose Gallery. Financial records include cash books, receipts, invoices, and papers related to loans of art work. Printed material consists of mostly exhibition-related documentation, but also includes articles and clippings that cover a variety of art topics, a leaflet on modern art distributed by the Institute of Contemporary Art in 1948, artist cards, and auction lists. Images depict Zerbe's personal life, studio, artwork, and encaustic painting technique.
This collection also contains 2.4 linear feet of moving image material. Included are home movies and travel films, as well as videocassettes containing raw footage, rough cuts, and the final version of "Expressions of Life," a one hour documentary for television on the life and work of Karl Zerbe. Documentation on this project also includes interview transcripts with Zerbe and others, a production script, and production notes. The documentary was written by Ernest Kolowrat, 1986, Peter J. Barton Productions.
Arrangement:
This collection is arranged as 8 series.
Series 1: Biographical Material, 1944-1991 (0.8 linear feet; Box 1)
Series 2: Correspondence, 1940-1994 (7 folders; Box 1)
Series 3: Writings, 1938-1974 (9 folders; Box 1-2)
Series 4: Gallery Files, 1939-1996 (0.8 linear feet; Box 2)
Series 5: Financial Records, 1942-1979 (7 folders; Box 2-3)
Series 6: Printed Material, 1941-1986 (0.8 linear feet; Box 3)
Series 7: Photographs, 1928-1972 (1 linear foot; Box 3-4, OV 6)
Series 8: Moving Images, 1954-2002 (2.4 linear feet; Box 4-5, FC 7-20)
Biographical / Historical:
Karl Zerbe (1903-1972) was a German American expressionist painter and art educator in Boston, Massachusetts and Tallahassee, Florida.
Born in Berlin, Zerbe split his childhood between France and Germany until 1920 when he began working in an architect's office. At that time, Zerbe began studying at the Debschitz Art School in Munich, and then at the Munich Academy of Art. In 1922, Zerbe had his first one-man show at the Gurlitt Gallery in Berlin. With assistance from the city of Munich, he then studied in Italy for three years. During this time, he consistently displayed his work in group and solo exhibitions throughout Europe. His art was first shown in the United States at the Golz Gallery in New York in 1933, and Zerbe moved to Boston not long after. He worked for seventeen years in Boston including time as head of the Department of Painting in the Boston Museum School. After Boston, Zerbe, along with his wife, Marion, and daughter, Maria, moved to Florida where he took the position of head of the Department of Painting at Florida State University at Tallahassee.
Zerbe received honors for his life-long dedication and contribution to art by the Pennsylvania Academy of Fine Art, Carnegie Institute, the Institute of Contemporary Art, Boston, Tallahassee Area Chamber of Commerce, and the state of Florida.
Provenance:
This collection was donated by Karl Zerbe's daughter, Maria Zerbe Norton, in 2010.
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 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.
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
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 audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Karl Zerbe papers, 1928-1996. 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.
Correspondence, photographs, clippings, magazines and statements by 20th century artists on their works bought for the Roland P. Murdock Collection of the Wichita Art Museum, Wichita, Kansas, by Navas.
Artists represented include: Peggy Bacon, Louis Bouche, William Brice, Charles E. Burchfield, Paul Burlin, Kenneth Callahan, John S. Copley, Russell Cowles, John S. Curry, Stuart Davis, Jose de Creeft, Adolf Dehn, Walt Dehner, Charles Demuth, Arthur Dove, Guy Pène du Bois, Thomas Eakins, William Glackens, Raphael Gleitsmann, George Grosz, John E. Heliker, Winslow Homer, Edward Hopper, Alexander R. James, Jonah Kinigstein, Frederick D. Kirsch, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, James Lechay, John Marin, Reginald Marsh, Henry E. Mattson, Carl Morris, George L. K. Morris, Roy Moyer, Charles Oscar, James Penney, Anne Poor, Henry V. Poor, Albert Pinkham Ryder, Henry E. Schnakenberg, Ben Shahn, Charles Sheeler, John Sloan, Houghton C. Smith, Elizabeth Sparhawk-Jones, Franklin C. Watkins, Max Weber, Clara M. Williamson, Karl Zerbe, and William Zorach.
Biographical / Historical:
Elizabeth S. Navas (1885-1979) was an art collector and patron in New York City. Navas was designated to assemble the Roland P. Murdock Collection of the Wichita Art Museum under the terms of the will of her friend, Louise Caldwell Murdock (1858-1915), widow of Roland P. Murdock.
Provenance:
Donated 1963 by Elizabeth S. Navas.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview of John Woodrow Wilson conducted 1993 March-1994 August, by Robert F. Brown, for the Archives of American Art.
Wilson discusses his childhood as a member of a family of middle class Black people from British Guiana (now Guyana); his father's grave disappointments in the face of racial discrimination; his parents' push for their children to succeed; early urge to read and draw; encouragement by School of the Museum of Fine Arts, Boston students who taught at the Roxbury Boys Club; his secondary education; and friends.
He talks about his education at the MFA School, Boston, and comments on such teachers as Ture Bengtz and Karl Zerbe and compares their exacting methods with those of Fernand Leger, his teacher in Paris.
His work of the 1940s prior to going to Paris; the importance of early awards and sales received while still a student at the MFA School; the excitement of sharing a studio with fellow students, Francesco Carbone and Leo Prince; and encouragement to stay in school during WW II with the promise of a European study fellowship after the war.
The great impact of his years in Paris (1948-49); the lack of racial prejudice; the liberating effect of Leger's teaching; his awe of the work of Masaccio and Piero della Francesca during a trip to Italy; and the deep impression made on him by seeing tribal art in the Musee de l'Homme, Paris.
Continued discussion of Leger; his teaching methods; and influences on his work.
His first teaching position at the MFA School; his involvement in civil rights in Boston; his gregariousness and the use of his studio as a meeting place for artists and political activists; his involvement with socialism in Boston and New York; and working in a socialist children's camp. He remembers meeting Paul Robeson, Charles White, Elizabeth Catlett, and Bob Blackburn, who was then setting up his printmaking atelier in New York; marriage to a fellow socialist (June 1950); move to Mexico on a fellowship to study with Jose Orozco on the advice of Leger, only to find that Orozco had died; terrors of travel as an interracial couple through the U.S.; and different racial attitudes in Mexico and the U.S.
Living in Mexico (1950-56) and anecdotes of David Alfaro Siqueiros and Diego Rivera; his wife's meeting with Frieda Kahlo and seeing her collection of folk art; their free and cosmopolitan, if impoverished, life in Mexico; his work in a printmaking atelier and on the production of frescoes, and a lengthy aside about his brilliant brother, Freddie, who because he was black was not allowed to pursue his first love, geology, for many years.
Continued discussion of his experiences in Mexico; the dreary year (1957) he spent doing commercial art for a meatpackers' union in Chicago, a city he disliked; his move to New York in 1958, taking on commercial work to support his family, and teaching anatomy at the Pratt Institute.
Teaching art at a junior high school in the Bronx, and his gaining respect of students through special projects; teaching drawing at Boston University (1965-86), his approach to teaching including his demanding standards, the seriousness of the students, his opposing rigid attendance and grading rules, and colleagues, such as David Aronson who had created the School, Reed Kay, Jack Kramer, Sidney Hurwitz, and the University president, John Silber.
Working with the black arts entrepreneur, Elma Lewis, in setting up a visual arts program for the Boston black community (late 1960s-1970s), including the selection of a curator, Edmund Barry Gaither, a young art historian, who eventually established a museum of African-American art; his participation in various black art exhibitions, despite his belief that art should be seen regardless of the ethnic origins of artists; his move toward sculpture, beginning in the early 1960s, as a medium most expressive of black persons, culminating in the 1980s in a series of colossal heads and a statue of Martin Luther King, Jr. for the U.S. Capitol (1985-86); and why he makes art and will so long as he is able.
Biographical / Historical:
John Wilson (1922- ) is an African American painter, sculptor, illustrator, printmaker, and educator from Boston, Massachusetts. Full name John Woodrow Wilson.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 16 hr., 2 min.
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. Funding for the transcription and microfilming of the interview provided by the Newland Foundation.
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. The transcript was microfilmed in 1996.
Occupation:
Art dealers -- New York (State) -- New York Search this
