Archives Directory for the History of Collecting in America
Archives related to: Johns, Jasper, 1930-
| title | Artist file: Johns, Jasper , 1930- | repository | National Portrait Gallery Library |
| description | Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs. |
| extent | 1+ folders (check with repository) |
| formats | Ephemera |
| access | Folder(s) do not circulate. Folder(s) available for use only at the holding library |
| record source | http://www.sil.si.edu/DigitalCollections/Art-Design/artandartistfiles/ |
| updated | 03/16/2023 10:30:00 |
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| title | Artist file: Johns, Jasper , 1930- | repository | Hirshhorn Museum and Sculpture Garden Library |
| description | Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs. |
| extent | 1+ folders (check with repository) |
| formats | Ephemera |
| access | Folder(s) do not circulate. Folder(s) available for use only at the holding library |
| record source | http://www.sil.si.edu/DigitalCollections/Art-Design/artandartistfiles/ |
| updated | 11/12/2014 11:30:05 |
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| title | Dorothy C. Miller papers, 1923-2003 (bulk 1923-1989) | repository | Archives of American Art |
| description | Files kept by Miller relating to her various publications, consulting and curatorial projects, teaching positions, commissions and committees, and her relationships with artists, collectors, and art world figures. [Miller's papers from her work at the Museum of Modern Art are in the Museum of Modern Art, New York, N.Y.] Included are correspondence, printed materials, research material, artists' files, photographs, Christmas cards with original artwork, and tax records. Among the subjects are the private and corporate art collections of Nelson A. Rockefeller, Joseph Hirshhorn, Chase Manhattan Bank, Smith College, Rockefeller University, Rothko Foundation, Port Authority of New York and New Jersey; Edward Hicks, the Shakers, and other folk art; the WPA Federal Art Project; the First Municipal Art Exhibition, New York, 1934 (entries card file); correspondence, papers, exams, and course notes from Smith College, 1923-1925; tax records for Miller and her husband Holger Cahill (1932-1958 with some years missing). Study photographs are of early American paintings, arranged alphabetically by artist, Bio/History: Museum curator, art consultant; New York, N.Y.; b. Feb. 6, 1904, Hopedale, Mass.; d. July 11, 2003, Greenwich Village, N.Y. |
| extent | 24.7 linear ft. |
| formats | Business Records Correspondence Artist Files Photographs Writings |
| access | Use requires an appointment |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1986-1997 by Dorothy C. Miller via Wendy Jeffers and in 2004 by Reid White, Executor of Miller's estate. |
| updated | 11/12/2014 11:30:14 |
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| title | William Anthony papers, 1956-2003. | repository | Archives of American Art |
| description | Biographical material, works of art, correspondence, exhibition material, and printed material. REEL 1094: Files containing a complete catalog of Anthony's work, 1957-April 1976, including reproductions of paintings; reviews of exhibitions; a transcript of an interview and background notes; correspondence include Charles Carpenter, Jasper Johns, Roy Lichtenstein, Carl Little, Joe Masheck, Robert Rosenblum, David Ross, Barry Schwabsky, Leo Steinberg, and others; 1961-1975; and photographs of Anthony. All material on reel 1094 are photocopies; originals disposed of. REELS 5875-5877: Scattered biographical materials; correspondence files; exhibition files; original art work; files of reproductions of his art work; a file for his book, "A New Approach to Figure Drawing"; clippings; photographs; an audio cassette recorded lecture and announcements of Anthony’s slide talks. Bio / His Notes: Painter; New York, N.Y.; b. 1934 Author of "Bill Anthony's Greatest Hits", 1977 and "New Approach to Figure Drawing", 1967 Additional forms: 35mm microfilm reels 1094 and 5875-5877 available at Archives of American Art offices and through interlibrary loan. |
| extent | 1.5 linear ft. (partially microfilmed on 3 reels) |
| formats | Microfilm Correspondence Exhibition Files Printed Materials Reproductions |
| access | Microfilmed portion must be consulted on microfilm. Patrons must use microfilm copy. |
| record link | http://www.aaa.si.edu/collections/findingaids/anthwill.htm |
| record source | http://www.aaa.si.edu/ |
| finding aid | online and in repository |
| acquisition information | Miscellaneous photocopied materials on reel 1094 were lent for filming in 1976 and subsequently donated 1977 by William Graham Anthony, and disposed of after filming. He donated additional papers in 2001- 2003 which were microfilmed in 2004. |
| updated | 11/12/2014 11:30:14 |
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| title | Hans Namuth photographs and papers, 1952-ca. 1985 (bulk 1953- 1970). | repository | Archives of American Art |
| description | Primarily photographs taken by Namuth of New York artists. Also included are correspondence, writings, and exhibition announcements. Pictured are Josef Albers, William Baziotes, Alexander Calder, Joseph Cornell (one shot microfilmed with AAA's Photographs of Artists-Collection II, reel 1817, frames fr. 323-324), Willem de Kooning, Richard Diebenkorn, Jim Dine, Helen Frankenthaler, Sonia Gechtoff, Grace Hartigan, Edward Hopper, Robert Indiana, Jasper Johns, Ellsworth Kelly, Franz Kline, Lee Krasner, Roy Lichtenstein, Alexander Lieberman, Conrad Marca-Relli, Agnes Martin, Robert Motherwell, Louise Nevelson, Barnett Newman, Isamu Noguchi, Alfonso Ossorio, Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, Larry Rivers, Mark Rothko, George Segal, Ben Shahn, Tony Smith, Saul Steinberg, Frank Stella, Clyfford Still, Andrew Wyeth, and others. The manuscript portion (1 linear ft.) relates mostly to Namuth's film about Alfred Stieglitz, "Alfred Stieglitz, American" and includes interviews with Ansel Adams, Harold Clurman, Aaron Copland, Arnold Newman, Dorothy Norman, and Marie Rapp; correspondence with Ansel Adams, Peter Bunnell, Jack Boynton, Aaron Copland, Juan Hamilton, Bernard Karpel, Lincoln Kirstein, Dorothy Norman and Georgia O'Keeffe; script information, grant applications, printed material, and photographs including one of Stieglitz by Weegee (Arthur Fellig), 1945. Other correspondence is with Patricia Johanson concerning a film about Josef Albers, the Virginia Museum of Fine Arts, Yale University's Dept. of Architecture, correspondence regarding Namuth's "17 Painters" exhibit done for the American Pavilion at the Brussels World Fair in 1958, and correspondence with Kenneth Koch regarding Koch's performance piece "The Construction of Boston" which Namuth documented. Additional material includes Namuth's "impressions" on each artists' portrait in the Brussels World's Fair portrait sessions, scattered business records, and printed matter. Bio / His Notes: Photographer, filmmaker; New York, N.Y. Born 1915. Died 1990. |
| extent | 7.0 linear ft. |
| formats | Photographs |
| access | Use requires an appointment. All Photographs by Hans Namuth: All requests for image reproductions are to be sent to: Hans Namuth Studio, attention: Peter Namuth, 68 Jane Street, #4-W, New York, N.Y. 10014.The Namuth Studio will provide all reproductions to researchers. For further information, call the Namuth Studio at #212-691-3220; e-mail: platypus@tuna.net or namuth@sbcglobal.net Box 21: Authorization to publish or reproduce must be obtained from: Peter Namuth, 68 Jane Street, #4-W, New York, NY 10014; telephone: 212/691-3220; e-mail: namuth@sbcglobal.net. AAA cannot make a microfilm copy of this portion. |
| record source | http://www.siris.si.edu/ |
| finding aid | Box inventory available at AAA offices. |
| acquisition information | Donated 1972-1985 by Namuth. |
| updated | 11/12/2014 11:30:14 |
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| title | Irving Blum Gallery and Ferus Gallery announcements, 1961-1973. | repository | Archives of American Art |
| description | The Irving Blum Gallery and Ferus Gallery announcements consist of 32 announcements for exhibitions at the Los Angeles Ferus Gallery (1957-1966) and its successor the Irving Blum Gallery (1966-circa 1972). Exhibition announcements are for many exhibitions of southern California contemporary and pop artists, as well as New York artists. Artists represented by announcements include John Altoon, Don Bachardy, Larry Bell, Billy Al Bengston, Robert Irwin, Jasper Johns, Donald Judd, Craig Kauffman, Roy Lichtenstein, Edward Moses, Kenneth Noland, Ad Reinhardt, Ed Ruscha, Frank Stella, and Andy Warhol, among others. Although these announcements are scattered, they provide insight to and documentation of the southern California LA art scene and the Beat era. The exhibition announcements themselves are quite unique. Bio / His Notes: The Ferus Gallery, later renamed the Irving Blum Gallery was an art gallery in Los Angeles, Calif. Originally founded by Walter Hopps and Ed Kienholz in 1957 as Ferus Gallery, Kienholz sold his share to Irving Blum one year later. Ferus Gallery closed in 1966 and Irving Blum maintained sole ownership and changed the gallery's name to Irving Blum Gallery. It was the first gallery in the Los Angeles area to show contemporary American art, and, under Blum's direction, soon focused heavily on contemporary Southern California artists, such as John Altoon, Larry Bell, Billy Al Bengston, Wallace Berman, Robert Irwin, Craig Kauffman, Ed Kienholz, Ed Moses, Richard Ruben, among many others. The gallery also exhibited contemporary American artists from New York, including Roy Lichtenstein, Jasper Johns, Frank Stella, Richard Diebenkorn, Andy Warhol, and others. Organization: The collection is arranged as 2 series: Series 1: Ferus Gallery Announcements, 1961-1965 (Box 1; 20 folders) Series 2: Irving Blum Gallery Announcements, 1969-1972 (Box 1; 12 folders) Cite as: Irving Blum Gallery and Ferus Gallery and announcements, 1961-1972. Archives of American Art, Smithsonian Institution. |
| extent | 32 items |
| formats | Ephemera |
| access | Patrons must use microfilm copy. Use of original papers requires an appointment. |
| record link | http://sirismm.si.edu/siris/ViewCollection.gif |
| record source | http://www.siris.si.edu/ |
| finding aid | online and in repository. |
| acquisition information | Donated 1979 by Mrs. Rochella Orchard. Loc. of Assoc. Material: The Archives of American Art holds an oral history interview with Irving Blum conducted from May 31-June 23, 1977 by Paul Cummings. |
| updated | 11/12/2014 11:30:14 |
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| title | Washington Gallery of Modern Art records, 1961-1989 (bulk 1961-1966) | repository | Archives of American Art |
| description | Administrative and business records, correspondence, printed material, press releases, interviews of artists, and other material regarding the Washington Gallery of Modern Art (WGMA). All but a small portion were kept by Board of Trustees president, Julian Eisenstein. Included are a handwritten draft of a letter to the Trustees of the Corcoran Gallery regarding plans to establish a museum of contemporary art in Washington, D.C.; by-laws and certificate of incorporation for the WGMA; remarks of August Heckscher, Special Consultant on the Arts to the President, at the Gallery's dedication, Oct. 30, 1962; minutes of meetings of the National Advisory Council of the Washington Gallery of Modern Art, October 26, 1963; minutes of meetings; annual reports; Julian Eisenstein's daily notes of actions and conversations concerning fundraising and adminstration, Nov. 7, 1961-Oct. 12, 1962; minutes of a meeting with Robert Richman, Director of the Institute of Contemporary Arts, Jan. 7, 1962; insurance records; loan agreement forms; mission statements; publications; exhibition catalogs, announcements, brochures, press releases, and other publications of the gallery; an inventory of the permanent collection; financial statements; notes and minutes of board meetings; annual reports; newspaper and magazine clippings; and miscellany. Letters from Adelyn Dohme Breeskin, director, 1962-64, assistant director Alice M. Denney, 1961, Gerald Norland, Director, 1964-1965, Charles E. Millard, Director, 1966, Carleton B. Swift, Jr., President of the Board of Trustees, 1966, James Brooks, John Canaday, Dorothy Goldberg, Katharine Graham, Thomas B. Hess, Sam Hunter, David Lloyd Kreeger, Daniel Millsaps, Lucy Moorhead, Sidney Simon, James McC. Truitt, Charles W. Millard, director, 1966, Carleton B. Swift, Jr., and others to Julianne Eisenstein; draft letters from Eisenstein to WGMA assistant director Alice M. Denney, July 4, 1961, and art critic Frank Getlein, July 20, 1961 and others, and correspondence,1987- 1989, between Eisenstein and Judy Markley regarding her masters thesis about the WGMA for the University of Oklahoma. Also included are interviews of artists who participated in the "Popular Image Exhibition", 1963, at the Washington Gallery of Modern Art in Washington, D.C. Artists interviewed are George Brecht, James Dine, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, James Albert Rosenquist, Andy Warhol, Robert M. Watts, John Wesley and Tom Wesselmann. The interviewer is unidentified. (Also available on phonograph record and compact disc.) ADDITION: Letters, writings, press releases and other printed material kept by Linda Lichtenberg [Kaplan], Director of Public Affairs, 1965-1967; a catalog of the permanent collection, WGMA, 1966; "Washington Gallery of Modern Art Crisis Fact Sheet"; press releases and other printed material about WGMA events; a letter of appreciation from Carleton B. Swift, Jr. to Linda H. Lichtenberg, June 28, 1967 for her service as Director of Public Affairs; a letter concerning Lichtenberg’s responsibilities at WGMA, June 28, 1967; Lichtenberg’s letter of resignation from WGMA, June 28, 1967; and a letter from Leni Stern to Lichtenberg, undated. Bio / His Notes: Art gallery and center; Washington, D.C. The Washington Gallery of Modern Art was a non-profit institution organized for the purpose of presenting significant exhibitions of contemporary American painting and sculpture. In conjuction with exhibitions, WGMA also sponsored lectures, concerts, films, tours, and an art rental service designed to encourage the understanding and appreciation of contemporary art. It was located at 1503 21st Street, NW, in Washington, D.C. |
| extent | 1.4 linear ft., 1 sound tape reel; 7 in., (partially transcribed on 11 p.) |
| formats | Sound Recording Transcript Administrative Records Business Papers Correspondence |
| access | Use requires an appointment. |
| record link | http://www.aaa.si.edu/collections/washington-gallery-modern-art-records-6048 |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1965 by the Washington Gallery of Modern Art. and in 1996 and 2002 by the Washington Gallery of Modern Art via Dr. Julian Eisenstein, one of the founders of the Gallery and President of Washington Gallery of Modern Art Board of Trustees from 1961-1966 and in 2004 via Linda Lichtenberg Kaplan, director of public affairs from 1965-1967. Loc. of Assoc. Material: Additional Washington Gallery of Modern Art records also located at: Corcoran Gallery of Art Archives |
| updated | 11/12/2014 11:30:14 |
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| title | Mitch Tuchman papers related to the book Painters Painting, 1980-1989. | repository | Archives of American Art |
| description | Papers related to Tuchman's co-authoring with Emile de Antonio the book Painters Painting: A History of American Modernism in the Words of Those Who Created It (Abbeville Press, 1984). The book was based on uncut transcripts and the film script from de Antonio's 1972 film Painters Painting, inspired by the Museum of Modern Art's exhibition, New York Painting and Sculpture: 1940-1970, curated by Henry Geldzahler. Included are correspondence; transcripts of interviews conducted by de Antonio of painters, critics, curators, and collectors; notes; drafts of the book; and a subject card file. Interviewees include: Josef Albers, Leo Castelli, Willem de Kooning, Helen Frankenthaler, Henry Geldzahler, Clement Greenberg, Thomas Hess, Jasper Johns, Philip Johnson, Hilton Kramer, Philip Leider, Robert Motherwell, Louise Nevelson, Barnett Newman, Kenneth Noland, Jules Olitski, Philip Pavia, Larry Poons, Robert Rauschenberg, Larry Rivers, William Rubin, Ethel and Robert Scull, Frank Stella, and Andy Warhol. Bio / His Notes: Tuchman is an author and editor; Los Angeles, Calif. |
| extent | 0.8 linear ft. |
| formats | Correspondence Interviews Manuscript Subject Files Transcript |
| access | Unmicrofilmed; use requires an appointment and is limited to AAA's Washington, D.C. office |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1994 by Mitch Tuchman |
| updated | 11/12/2014 11:30:14 |
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| title | Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. | repository | Archives of American Art |
| description | The Leo Castelli Gallery records measure 226 linear feet and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films. The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner. Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli. General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations. Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name. Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie. The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series. Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, and scattered photographs. Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction. Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries. Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery. Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well. Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others. The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s. Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records. The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs. Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files. Audio and video recordings include recordings done by artists, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television programs recorded primarily on cassette tapes, albums, VHS tapes, and 3 4" U-Matic tapes. Artists represented include Robert Barry, Barbara Bloom, Hanne Darboven, Dan Flavin, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Doug and Mike Starn, and Lawrence Weiner, among others. Bio / His Notes: Leo Castelli Gallery (est. 1957) art gallery, New York, N.Y. Leo Castelli (1907-1999), founder of Leo Castelli Gallery, New York, N.Y. He established the Leo Castelli Gallery in 1957, recognizing that important cultural changes were occuring in America and that a new form of art would derive from Abstract Expressionism which was in its heyday. The first two artists he signed up were Jasper Johns and Robert Rauschenberg, both transitional figures in the move from Abstract Expressionism to Pop Art. Castelli became known as one of the greatest salesmen in the art market and an avid supporter of contemporary art movements. |
| extent | 226.0 linear feet |
| formats | Business Papers Administrative Records Correspondence Exhibition Files Artist Files |
| access | Patrons must use microfilm copy. |
| record link | https://sirismm.si.edu/EADpdfs/AAA.leocast.pdf |
| record source | https://www.aaa.si.edu/collections/leo-castelli-gallery-records-7351 |
| finding aid | online and in repository |
| acquisition information | Lent for microfilming 1968 by Leo Castelli Gallery. |
| updated | 09/12/2019 16:36:04 |
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| title | Alan R. Solomon papers, 1930-1972. | repository | Archives of American Art |
| description | Biographical material, correspondence, interview transcripts, files on art and artists, writings, photographs, financial records, printed material, and miscellany regarding the career of Alan Solomon as an art historian and educator. REELS 3921-3928: Biographical material consists of resumes, diplomas and academic transcripts. Personal and business correspondence is with galleries, museums, universities, colleagues and friends, including Harvard University, Cornell Univeristy, Jim Dine, Audrey Sabol, Robert Rauschenberg and others. Transcripts of twenty interviews with artists include Kenneth Noland, Leo Castelli, Jim Dine, Helen Frankenthaler, Clement Greenberg, Roy Lichtenstein, Claes Oldenburg, Andy Warhol, Robert Rauschenberg, among others. Writings are by Solomon and others on a variety of topics such as the art scene in New York, Jim Dine, Joan Miro, Pablo Picasso and Expo 67. Photographs consist of artists and works of art. Financial records include invoices for travel, receipts, and loan agreements for works of art. Printed material includes newspaper clippings, and exhibition catalogs and announcements. Also included are address books, engagment calendars, planning books and a guest book. ADDITION: Files on primitive and contemporary art and artists Francisco de Goya, Peter Paul Rubens, and others. Also included are writings by Solomon on a variety of topics, as well as three bound leather books, entitled, "Romanzo, parts I, II and III." Teaching material consists of lectures by Solomon on Gupta sculpture and artists Rubens and Courbet, among others. Photographs are of Solomon's travels abroad and works of art by a variety of artists. Financial records include petty cash receipts, invoices for travel, and related correspondence. Printed material consists of newspaper clippings, announcements, catalogs, and programs regarding a variety of topics including theater, exhibitions, museums, design, and contemporary and primitive art. Bio / His Notes: Art historian, museum director, educator; New York, N.Y. Solomon established the Andrew Dickson White Art Museum at Cornell University in 1953, and served as its director until 1961. He also taught on the faculty of Fine Arts at Cornell. After moving to New York City in the early 1960s, Solomon undertook many diverse curatorial and research projects related to contemporary American art, particularly the New York City art scene and abstraction. Additional forms: 35mm microfilm reels 3921-3928 available at Archives of American Art offices and through interlibrary loan. |
| extent | 5.8 linear ft. (on 8 microfilm reels) Addition: 5.0 linear ft. |
| formats | Microfilm Correspondence Financial Records Interview Photographs |
| access | Patrons must use microfilm copy. Use of unmicrofilmed material requires an appointment. |
| record source | http://www.siris.si.edu/ |
| finding aid | Finding aid for material on reels 3921-3928 is available in all AAA offices. |
| acquisition information | The Leo Castelli Gallery served as executor of Solomon's estate, and donated his papers to AAA in 1974 and in 2007. |
| updated | 11/12/2014 11:30:14 |
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| title | Katharine Kuh papers, 1875-1994, bulk, 1930-1994. | repository | Archives of American Art |
| description | The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12.1 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry. Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues. Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media. There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning. Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts. Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970. Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics. Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953. Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso. Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting. Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe. Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young. Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum. Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators. Bio / His Notes: Katharine Kuh (1904-1994) was an art consultant, curator, and critic working in Chicago and New York City. Additional forms: Portions of this collection are available on 35mm microfilm reels 265, 267, 2225-2227, and 2288 at Archives of American Art offices, and through interlibrary loan. Researchers should note that the arrangement of the collection as described in this finding aid may not reflect the order of the collection on microfilm. Cite as: Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution. |
| extent | 12.1 linear ft |
| formats | Business Papers Personal Papers Correspondence Clippings Works of Art |
| access | Use of original papers requires an appointment. Entire collection (excluding art work from Art Institute of Chicago): Authorization to publish, quote, or reproduce requires permission; obtain additional information from AAA Reference staff. |
| record link | http://www.aaa.si.edu/collections/katharine-kuh-papers-9951/more |
| record source | http://www.siris.si.edu/ |
| finding aid | online and in repository |
| acquisition information | Donated 1971-1994 by Katharine Kuh and the Katharine Kuh estate. In addition, 147 works of art determined to have been made expressly for Kuh, or dedicated to her, were donated 1995 by the Art Institute of Chicago, which had received them from the Kuh estate along with other works of art in Kuh's collection. Loc. of Assoc. Material: Additional Katharine Kuh papers also located at: Yale University. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Fendrick Gallery records, 1952-2001. | repository | Archives of American Art |
| description | The records of Fendrick Gallery consist primarily of artist's files (41.5 linear feet) documenting the gallery's relationship with over 300 contemporary artists, including painters, printmakers, and craftsmen. Among the artists represented are Robert Arneson, William Bailey, Barton Benes, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler, Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley (14.5 linear feet), Joseph Raffael, São (Maria da Conceição), Carol Summer, Joyce Tenneson, William Woodyard, and many others. Also found are files relating to commission and other special projects, printmaking and sales, exhibitions, gallery finances and administration, as well as the gallery's relationships with other galleries and museums. Organized into 7 series: I. Artists' Files, 1962-2001 (41.5 ft.) II. Albert Paley, 1970-2001 (14.5 ft.) III. Commissioned Works and Projects, 1972-2000 IV. Exhibition Files, 1961, 1970-1996 V. Museums and Galleries, 1952-2000 VI. Subject Files, 1952, 1960-2001 VII. Administrative and Financial Files, 1960-2001. |
| extent | 105.2 linear ft. |
| formats | Financial Records Photographs Exhibition Catalogs Clippings |
| access | Unmicrofilmed; use requires an appointment. Reviewed financial statements in bound volumes, ca. 1979-1991: Authorization to publish, quote or reproduce requires written permission until June 16, 2008. |
| record link | http://www.aaa.si.edu/collections/fendrick-gallery-records-6271/more |
| record source | http://www.siris.si.edu/ |
| finding aid | http://www.aaa.si.edu/collections/fendrick-gallery-records-6271/more |
| acquisition information | Donated 1999 by Barbara Fendrick, owner of the Fendrick Gallery. Processing of the collection and preparation of the finding aid were done by Patricia Craig with funds provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Castelli Graphics records, 1969-1997. | repository | Archives of American Art |
| description | Artists' files, business and financial records, exhibition records, professional correspondence, photographs, and printed material documenting the activities of art gallery and print publishing firm Castelli Graphics. Artists files include Robert Adams, Eve Arnold, Richard Artschwager, Lewis Baltz, Jean-Charles Blais, Lee Bontecou, James Brown, Sandro Chia, Robert Combas, Robert Cumming, Jan Dibbets, Bernard Faucon, Mark Feldstein, Dan Flavin, Ralph Gibson, John Gossage, John Gutmann, Jane Hammond, Edward Henderson, Jasper Johns, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Brice Marden, Mary Ellen Mark, Steve Miller, Robert Morris, Hans Namuth, Bruce Nauman, Claes Oldenburg, Robert Petersen, Michelangelo Pistoletto, Robert Rauschenberg, Ruby Ray, Brent Richardson, Don Rodan, James Rosenquist, Edward Rucha, Davis Salle, Julian Schnabel, Richard Serra, Sandy Skoglund, Michael Smith, Eve Sonneman, Keith Sonnier, Pat Steir, Frank Stella, Judy Tomkins, Cy Twombly, Bernar Venet, Andy Warhol, and Terry Winters. Business and financial records concern accounts, consignments, loan and sales records, reproduction rights, book deals, inventories, and general operations. Exhibition records include gallery installations and checklists. Professional correspondence is with artists and clients. Photographs are of works of art. Printed material includes exhibition announcements and other publications. Bio / His Notes: Castelli Graphics (est. 1969; closed 1997) was an art gallery and print publishing firm in New York, N.Y. which was founded by Antoinette (Toiny) Castelli. |
| extent | 65.3 linear feet |
| formats | Business Papers Financial Records Exhibition Catalogs Correspondence Artist Files |
| access | Use requires an appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 2011 Jean-Christophe Castelli, Leo and Antoinette Castelli's son. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Emily Nathan papers, [ca. 1935-1985]. | repository | Archives of American Art |
| description | Correspondence and files relating to several art projects planned for the public relations programs of industries and museums, particularly Nathan's work with Towle Manufacturing and its gallery, the Smithsonian Institution, and the Archives of American Art. 1973 DONATION (1.0 ft.): Correspondence and project files for various clients. Of note are two photographs of Jasper Johns, and one each of Mark Rothko and Tony Smith, all taken by Hans Namuth, 1960. ADDITION: Files relating to Nathan's work as public relations consultant for the silver company,Towle Manufacturing and its gallery, (ca.1951-ca.1957), include photographs of exhibits, silversmiths at work and Towle executives, as well as correspondence, writings, notes on silversmithing and its history, and newsletters. Files relating to Nathan's work at the Smithsonian Institution's museums and exhibitions, 1960's-ca. 1985, consist of subject files, clippings, catalogs, articles, press releases, newsletters, and reports. Publicity files also cover the opening of the National Portrait Gallery and its inaugural exhibition. Nathan's work for the Archives of American Art, from its first becoming a bureau of the Smithsonian in 1970, is documented through subject files, membership lists, reports to trustees and the director, newsletters, clippings, catalogs, budgets and statistics. Correspondence consists of letters to Georgia O'Keeffe regarding a pending oral history with the sculptors Dorothy Dehner and David Smith. The majority of the photographs are of personalities long associated with the Archives of American Art. Bio / His Notes: Public relations consultant and journalist. |
| extent | 1.0 linear ft. Addition: 5.0 linear ft. |
| formats | Administrative Records Correspondence Photographs Subject Files Ephemera |
| access | Use requires an appointment. |
| record source | http://www.siris.si.edu/ |
| acquisition information | Donated 1973 by Emily Nathan and in 2000 by the Emily Nathan estate, via Edgar S. Nathan, III, executor. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Rudi Blesh papers, 1909-1983. | repository | Archives of American Art |
| description | Correspondence, notes, manuscripts, printed material, subject files, and photographs, relate chiefly to Blesh's research and writings on Abstract Expressionists. REELS 3991-3994: Correspondence, 1946-1969, primarily letters to Harriet Janis regarding her and Blesh's book Collage: Personalities, Concepts, Techniques (1967), from artists Jean Dubuffet, Marcel Duchamp, Sonia Delaunay, Aaron Siskind, Man Ray and others; 5 notebooks of research notes, including one "Motherwell Book"; manuscripts for Collage and Cubism; clippings; exhibition announcements and catalogues, 1941-1960; a book, De Kooning, by Janis and Blesh; galleys for Collage; reproductions of unidentified works of art; subject files on Albert Burri, Stuart Davis, Man Ray, Hans Richter, Kurt Schwitters, and other art subjects; and annotated photographs of artists and works of art. Included in the photos are Willem De Kooning, Mark Rothko by Henry Elkan, Jasper Johns, Robert Rauschenberg by W. Silver, Robert Motherwell, and Jackson Pollock by Hans Namuth. UNMICROFILMED: Correspondence, 1909-1979; photographs of Blesh, (including a portrait by Hans Namuth), of family, travel pictures, views of Blesh's home, furniture designs, friends William and Ethel Baziotes, and Harriet Janis, Blesh's co-author for They All Played Ragtime (1950); an article on Scott Joplin by Blesh (American Heritage, 1975); clippings, 1975-1976; and First Day Cover for Scott Joplin stamp issued in 1983. Bio / His Notes: Writer, critic, and architectural designer; New York, N.Y. Additional forms: 35mm microfilm reels 3991 through 3994 available at Archives of American Art offices and through interlibrary loan. |
| extent | 2.4 linear ft. (partially filmed on 4 microfilm reels) |
| formats | Microfilm Correspondence Notes Subject Files Writings |
| access | Patrons must use microfilm copy. Use of unmicrofilmed portions requires an appointment. |
| record link | http://www.aaa.si.edu/collections/rudi-blesh-papers-8594 |
| record source | http://www.aaa.si.edu/c |
| finding aid | A finding aid listing correspondents and photographs of artists is available at Archives of American Art offices Selected images digitized: http://www.aaa.si.edu/collections/rudi-blesh-papers-8594 |
| acquisition information | Microfilmed material donated by Rudi Blesh, 1981. The unmicrofilmed material donated 1993 by longtime friend Ethel Baziotes, who received them from Blesh before his death. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Hanuman books records, (bulk 1986-1994). | repository | University of Michigan |
| description | Collection includes: correspondence, invoices, manuscripts, typescripts, artwork, audiotapes, printed ephemera, photographs and books. Records document the founding of Hanuman Books, the administration of a small New York Press, Indian printing practices, San Francisco's North Beach and New York's Lower East Side literary and art scenes, Beat poetry, the Naropa Institute, contemporary music and film, and gay men and gay literature in the 1980s and 1990s. Bio/History: Hanuman Books was founded by Raymond Foye and Francesco Clemente in 1986 in New York City. The press was created to publish small handmade books (based on the format and design of Indian prayer books) of works by contemporary avant-garde writers, hard to find translations, and the "exquisite expressions" of poets and artists. The administrative and editorial functions, managed by Foye, were housed in the Chelsea Hotel, while the printing and binding were done by the Kalakshetra Press in Madras, India. Clemente, in addition to some editorial duties, painted the Hanuman Books logo and worked on designs for the books. George Scrivani was Kalakshetra Press's editor in Madras from 1986-1993, while Paul Rickert assisted in running Hanuman in New York. Younger writers, such as Eileen Myles, David Trinidad, Richard Hell and Anne Waldman were published, as well as works in translation by such authors as Rene Daumal, Henri Michaux, and Francis Picabia. Stories, poems and essays were also solicited and received from writers and artists such as John Ashbery, William Burroughs, Willem de Kooning, Allen Ginsberg, John Wieners and Patti Smith. Location: Special Collections Manuscripts - 7th floor S Hatcher |
| extent | 20 linear ft. |
| formats | Administrative Records Correspondence Financial Records Manuscript Photographs |
| access | Contact repository for restrictions and policies. |
| record link | http://quod.lib.umich.edu/cgi/f/findaid/findaid-idx?c=sclead&idno=umich-scl-hanuman |
| record source | http://mirlyn.lib.umich.edu/Record/004312764 |
| finding aid | Online and in repository. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Performance by Lahakat ha-mahol Bat-Sheva`, choreography Barak Marshall, accompanied by an art exhibition by Jasper Johns. | repository | Widener University Archives |
| description | Photographs by Gadi Dagon taken in 1999./ To consult these images go to via.harvard.edu. Note(s): Photographs by Gadi Dagon taken in 1999. Other title: Gadi Dagon photographs To consult these images go to via.harvard.edu. |
| extent | 136 photographs |
| formats | Photographs |
| access | Contact repository for restrictions and policies. |
| record source | http://hollis.harvard.edu/?itemid=|library/m/aleph|012753876 |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Barbara Rose Papers, 1940-1993 (bulk 1960-1985). | repository | The Getty Research Institute |
| description | The Barbara Rose Papers represent a selection from her archive and document her research in post-war and contemporary American art. The bulk of the papers date from 1960 through 1985. Manuscript and research files on American artists, primarily of the post war era, and especially rich for the New York art world contain Rose's research notes, some correspondence (primarily from others), photographs and slides, and drafts of manuscripts for articles, catalogues and books, some unpublished. The most extensive files concern research (1978-1979) for an exhibition and catalogue on the artist Patrick Henry Bruce for the Museum of Modern Art, New York, 1979, and files about collaborations between science and art, including the Experiments in Art and Technology (Organization) project to build the Pepsi-Cola Pavilion at the 1970 Exposition in Osaka, and the related art and technology program at the Los Angeles County Museum of Art, 1967-1971. Much of Rose's research consists of interviews with artists, and a few dealers, curators and printmakers. These date from ca. 1960 through ca. 1990. More than 100 interviews are here in transcriptions, some partial and heavily edited, and on cassette tapes and 1/4 inch audio tape reels. The Claes Oldenburg interviews are the most extensive with ca. 50 transcript pages and 21 cassette tapes. Six videotapes document exhibits, symposia and lectures. Correspondence with artists, curators and historians is scattered throughout the research files. In addition there are several concentrated files (ca. .5 linear ft.) of correspondence from Avigdor Arikha and his wife Anne, 1962-1977, and Mark Di Suvero, 1972-1973, 1975. Two letters from Robert Motherwell, 1966, discuss the post-war New York art scene. There are 4 letters from Frank Stella, with 2 short manuscripts about painting, and photographs of Islamic decoration taken during a trip to Iran. Complementing these files are ca. 200 black & white photographs of artists dating from ca. 1940 through 1992. Oldenburg's "Ray Gun" poster, signed and dated 1971, is an artifact from The Store Additional Formats: Use copies are available for all audio cassette tapes (C1-C147) and all reel-to-reel tapes (R1-R13). See research file for inventory. |
| extent | 11 linear ft., 40 boxes |
| formats | Manuscript Research Files Correspondence Transcript Photographs |
| access | Open for use by qualified researchers. |
| record link | http://archives2.getty.edu:8082/xtf/view?docId=ead/930100/930100.xml;query=;brand=default |
| record source | http://hdl.handle.net/10020/cat322207 |
| finding aid | Online and unpublished finding aid available in the repository |
| acquisition information | This collection comprises selected papers acquired from Barbara Rose in 1993. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Leo Steinberg research papers, 1945-1996 (bulk 1950-1993). | repository | The Getty Research Institute |
| description | The Leo Steinberg Research Papers consist of research notes, correspondence relating to his lectures and essays, papers written by his students, several versions of some of his essays, an abandoned dissertation project, and many of his notebooks from courses he took at the Institute of Fine Arts, New York University. The archive reflects Steinberg’s career as an art critic, lecturer and teacher from ca. 1945-ca.1996. The research notes and course notebooks give a clear picture of Steinberg’s fields of interest, as well as his association with many distinguished art historians. Included are Steinberg’s unpublished research on Borromini, his work on Rodin and Titian in the form of notes, photographs, lectures in typescript with notes; a few essays by others; his dissertation on Borromini, and professional correspondence such as with Rudolf Wittkower about Borromini. Correspondence about Steinberg’s lecture series at the Metropolitan Museum of Art and elsewhere includes letters from scholars such as Gerson Cohen, Rene d’Harnoncourt, John Canaday, Margaret Scolari Barr, André Chastel, Julius Held, H.S. Janson, Irving Lavin, Annette Michelson and Phil Leider. Also, there is correspondence with art critic Hilton Kramer about Steinberg’s column in the magazine Arts; articles and letters about his essay on Jasper Johns and lecture "Sexuality of Christ in Renaissance Art and in Modern Oblivion," and reviews and versions of several essays from Steinberg’s book Other criteria. The Papers also contain research notes, illustrations and several chapters for his abandoned dissertation "Afterlife of Romanesque." Includes notebooks, many with photographs and illustrations, for courses Steinberg took when he attended the Institute of Fine Arts, NYU from 1950-1963. Professors include Harry Bober, Robert Goldwater, Ernst Kitzinger, Richard Krautheimer, Karl Lehmann, Wolfgang Lotz, Bates Lowry, Erwin Panofsky, Alfred Salmony, Charles Sterling and Herbert Weissberger. Biographical or Historical Notes: Steinberg, art historian, critic, lecturer and professor, wrote on historical and contemporary art subjects and artists. |
| extent | ca. 12 linear ft. (28 boxes) |
| formats | Research Files Correspondence Writings Notebooks Photographs |
| access | Open for use by qualified researchers. |
| record link | http://archives2.getty.edu:8082/xtf/view?docId=ead/930046/930046.xml;query=;brand=default |
| record source | http://hdl.handle.net/10020/cat297510 |
| finding aid | Unpublished finding aid available in the repository; folder-level control. |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Letters received by Frederick Kiesler, 1937-1961. | repository | The Getty Research Institute |
| description | The collection is principally comprised of letters from surrealists in Paris in the years immediately following the Second World War, and includes extended reportage and commentary relating to Breton’s circle and to their publications and exhibitions. Kiesler visited and exhibited in Paris in 1947 and 1948 and collaborated at this time with Breton on his "Ode a Charler Fourier." Series I. In French and German from Paris. The Czech painters discuss the planning and publication of the surrealist magazine NEON (first issued in Jan 1948) and report extensively on the intellectual atmosphere of Paris and the activities of the surrealist group, especially those associated with NEON, who include Toyen (Marie Cerminova), Jacques Herold, Jindrich Styrsky and Andre Breton. Heisler comments, often at length, on avant-garde publications, movements, events and personalities, including: the New York journal Instead; Henri Parisof and his "Quatre Vents"; Zervos and the Cahiers d’Art; Jean-Paul Sartre and the vogue for existentialism; and Breton’s friends and enemies, including Alberto Giacometti and Charles Duit. There are shorter references to an exhibition of Antoni Tapies, Marcel Duchamp, Jean Arp, Karel Teige, and Roberto Matta. Series II. Letters from Marcel Jean, 1974-1949, 1958 (15 items). Thirteen letters (in French and English) from Paris and Budapest, dated 1947 Nov-1949 June, reporting at length on surrealist activities in Paris; describing the intellectual atmosphere in Czechsolovakia and Hungary during a visit in 1948; and describing arrangements for an exhibition of his work at the Artist’s Gallery in New York. Those who figure most prominently are Matta, Breton, Tanguy, and the poet Malcolm de Chazal. And there is some discussion of Heisler and his NEON magazine. Perhaps most significant is an account of the "Matta affair," with reflections on the suicide in 1949 of Arshile Gorky and on Breton’s attempts to moralize the event for his circle. With two brief letters of 1958, about visits to New York. Series III. Letters from Jean Arp (signed Hans), and Sophie Taeuber-Arp, 1938-1962 (12 items). Series includes a letter from Sophie Taeuber-Arp, 1938 Jan 23, describing her magazine Plastique, its purpose and its contributors, and with verse of Jean Arp and herself; eight letters from Jean Arp to Kiesler and his wife, from Paris and Basel, 1948 Jan-Oct, with detailed plans and arrangements for publications and exhibitions of Arp’s and Kiesler’s works and writings in New York, Paris and Switzerland, and with news; and three long personal letters from Marguerite Hagenbach Arp, 1957-1962, from Paris and Basel, primarily about Jean (Hans) Arp. These letters concern his health, his exhibitions, his poetry and the excitement and problems involved with his growing fame. Series IV. Miscellaneous letters received, 1932-1961 (56 items). Primarily single letters or short files of personal, social and incidental business notes from artists, curators and writers in New York and Paris. Arranged alphabetically. Letters of some note include four from Katherine S. Dreier (1937-1949) reporting Duchamp’s and Kandinsky’s comments on Kiesler’s article on "the Large Glass," three from Fredi B.[?] in Paris (1943-1949) with references to "NEON," "Instead," and Kiesler’s circle; a 1939 letter from R. Buckminster Fuller, with a long critique of the "Laboratory School of Design" and the philosophy of the Bauhaus; a letter of Amedee Ozenfant, 1939, with reflections on his education, the conditions of painting in America and the New Bauhaus of Moholy-Nagy; a friendly postcard (1932 Dec 21), and a letter from Piet Mondrian (1937) on selections of his work for a N.Y. show; and 13 letters from Hans Richter (1941-1949) among which he describes his difficulties establishing himself in New York in 1941. The series also includes seven letters, 1947 Oct.-1948 March from Christian and Yvonne Zervos relating to surrealist exhibitions at Galerie Maeght and to the affairs of Cahiers d’Art. With an apparently unrelated list of works loaned by Julien Levy in 1932 to the Harvard Society of Contemporary Art. Series also includes letters from Alexandre Alexandre, Pierre Boulez, Serge Chermayeff, Jasper Johns, William Maywald, Sibyl Noholy-Magy, Henri Parisot, Philip Pavia, Gabrielle Buffet-Picabia, Xanti Schawinsky, Anthony Smith and Dorthea Tanning (with a note from Max Ernst). Additional Formats: Microfilm of collection available in the repository. Microfilm also available for use at Archives of American Art offices and through interlibrary loan from the AAA. Other Archival Location: Frederick Kielser papers, 1923-1993; Located at; Archives of American Art, Smithsonian Institution. Biographical or Historical Notes: Austrian-born American painter, architect, critic and teacher of architecture. Location: SPECIAL COLLECTIONS Call Number: 850940 |
| extent | 89 items. |
| formats | Microfilm Correspondence Notes |
| access | Contact repository for restrictions and policies. |
| record link | http://hdl.handle.net/10020/cat104863 |
| record source | http://library.getty.edu/vwebv/searchBasic |
| updated | 11/12/2014 11:30:14 |
| .................................................................... | |
| title | Jasper Johns : artist file : study photographs and reproductions of works of art with accompanying documentation 1930?-1990 [graphic] [compiled by staff of The Museum of Modern Art, New York]. | repository | The Frick Collection and Frick Art Reference Library |
| description | Summary File of color and black and white photographs of work of art, assembled by the staff of The Museum of Modern Art in New York from the museum's establishment until 1990. Items may include full views, details, installations, etc. Found In Museum of Modern Art art reference photo files. Notes Title from checklist. Size of items in boxes varies. Location: Frick Photoarchive Collections Call Number: MoMA Photo Files Johns |
| extent | 1 or more folders |
| formats | Photographs Reproductions |
| access | Photocopies of items are available upon request, subject to fees and other current guidelines for reproduction. |
| record source | https://library.frick.org/permalink/01NYA_INST/1qqhid8/alma9910078354697071416 |
| updated | 10/25/2022 15:29:31 |
| .................................................................... | |
| title | Jasper Johns artist file : study photographs and reproductions of works of art with accompanying documentation 1920-2000. | repository | The Frick Collection and Frick Art Reference Library |
| description | Assembled artist file includes b&w photographs, reproductions from books and auction catalogs, and in some cases, negatives. Items may include full views, details, before and after restoration views, etc. Documentation may include artist name, title of work, medium, dimensions, provenance, exhibition history, related works, previous attributions, and bibliography. Location: Frick Photoarchive Collections Call Number: 100 Johns |
| extent | 1 folder [as of 1999] |
| formats | Reproductions Photographs |
| access | 1 folder [as of 1999] |
| record source | https://library.frick.org/permalink/01NYA_INST/1qqhid8/alma991003739509707141 |
| finding aid | Item level control. Local database may provide access to selected items in the file. |
| acquisition information | Compiled by staff of the Frick Art Reference Library. The Library continues to add to the file. |
| updated | 08/30/2022 16:40:57 |
| .................................................................... | |
| title | BMA artist files. Johns, Jasper, 1930- | repository | The Brooklyn Museum Libraries and Archives |
| description | The file may include any of the following materials: announcements, clippings, photographs, press releases, brochures, reviews, invitations, small exhibition catalogs, resumés, other ephemeral material. Cite as Brooklyn Museum of Art Library Collections. BMA artist files. Location: Brooklyn Artist Files Call Number: AF BMA J |
| extent | 2 folders |
| formats | Artist Files Ephemera |
| access | Contact repository for restrictions and policies. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991013234239707141 |
| acquisition information | Files compiled by BMA library staff from 1917 to the present. |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | Artist file. Johns, Jasper, 1930- | repository | The Brooklyn Museum Libraries and Archives |
| description | The file may include any of the following materials: announcements, clippings, photographs, press releases, brochures, reviews, invitations, small exhibition catalogs, resumés, other ephemeral material. Cite as Brooklyn Museum of Art Library Collections. Schweitzer Gallery files. Found In Schweitzer Gallery files Location: Brooklyn Artist Files Call Number: AF Schweitzer J |
| extent | 1 folder |
| formats | Ephemera |
| access | Contact repository for restrictions and policies. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991013270589707141 |
| acquisition information | Gift; M.R. Schweitzer; 1990. |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | Artist file : miscellaneous uncataloged material. | repository | The Museum of Modern Art |
| description | The folder may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material. Location: MoMA Queens Artist Files Call Number: Johns, Jasper |
| extent | Boxes |
| formats | Ephemera |
| access | Contact repository for restrictions and policies. |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991010822489707141 |
| updated | 11/29/2022 15:49:51 |
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| title | Public Information Records, 1929-1997 | repository | The Museum of Modern Art |
| description | Series I of the Public Information Records consist of 212 scrapbooks (16 x 13 x 2"; 58 linear feet) of thousands of newspaper and magazine clippings concerning The Museum of Modern Art from its opening in 1929 through the mid 1970s. They document not only the history of the Museum but also the profound influence the Museum has had on the development of twentieth-century culture. Included are accounts of exhibitions shown at the Museum and circulated elsewhere; reviews of books and exhibition catalogs written by staff members; Museum programs, personnel, policy, and department changes; building renovations and expansions; parties and benefits; fund-raising campaigns; anniversaries; lectures, concerts, and symposia; film series; visits by dignitaries; and trustee appointments. In addition, the scrapbooks reflect a variety of issues and controversies that surrounded Museum events during the institution's first four decades: for example, Museum activities during World War II; the suspicion that modern art represented a communist threat in the 1950s; art education; art as commodity; the Museum as a proselytizer of good design; fashions inspired by various Museum exhibitions; and criticism and praise of the Museum. Several scrapbooks are devoted to the Young People's Gallery and to the Children's Art Carnivals, both part of the Museum's important, pioneering Education Program. The scrapbooks are an excellent source of information about twentieth-century artists; for example, an entire scrapbook is devoted to Picasso (Scrapbook General U) and a large portion of another to Giacometti (Scrapbook General V). Articles written by and/or about staff members important to the Museum's development and to an understanding of the art of the time were also collected. The organization and arrangement of the scrapbooks make them an invaluable and unique research tool for the cultural and social historian as well as the art historian. Series II consists of three Subseries of records. Subseries A consists of 44 linear feet of newspaper and magazine clippings that document miscellaneous events at the Museum from 1929 to the mid-1960s, and thereafter nearly every exhibition and event. In addition to exhibitions, examples of events covered include acquisitions, book publications, Museum programs, building renovations, and personnel and policy changes. Also covered are parties, benefits, and fund-raising campaigns; and lectures, symposia, and film series. There are articles written by or about the Museum's staff members and articles on the topic of modern art in general. The clippings also trace the origin and evolution of innovative series at the Museum, such as Projects and Cineprobe. Materials on the artists Pablo Picasso, Edward Steichen, and Ludwig Mies van der Rohe are especially rich. Subseries B comprises 67.25 linear feet of departmental administrative records. It includes correspondence, invitations, press kits, posters, photographs, slides, publicity reports, and exhibition checklists, proposals, catalogs, schedules, and wall texts. It also covers exhibitions as well as programs such as Summergarden, an annual concert series, and Party in the Garden, an annual fund-raising event. In Subseries B, material on artists Jasper Johns, Chuck Close, and Alfred Stieglitz are particularly significant. Together, the clippings of Subseries A and the administrative records of Subseries B provide a unique overview of how the Museum publicized its efforts to exhibit modern art and to educate the public about it as well as the press's response to such efforts. Researchers are advised to consult documents in both of these Subseries in order to access the most complete documentation on a subject. Similarly, for any exhibition or event pre-dating 1970, researchers are urged to consult Series I-The Public Information Scrapbooks-for the most comprehensive collection of clippings. Subseries C is 3 linear feet of documentation regarding Museum staff and members of the Board of Trustees. The records include biographical information and portrait photographs. Historical Note The records were compiled by what is now known as the Department of Communications. It was originally the Department of Publicity from 1933 until the 1960s, and later known as the Department of Public Information (PI), from the 1960s through 1994. The responsibilities of the Department of Communications are twofold: to serve as the official conduit of information between the Museum and the media and to increase public awareness and support for the Museum. Therefore, the Department of Communications also handles all press relations and inquiries for the Museum regarding special exhibitions, events, projects, and programs. It is, in effect, the public voice of the Museum. The department's goal is to generate a larger audience for the Museum and its exhibitions and to manage the Museum's image in the media. As a corollary, from the department's inception, it collected and assembled newspaper and magazine clippings from around the world concerning Museum exhibitions and events. Note Forms part of: Museum of Modern Art (New York, N.Y.). Museum Archives. Records. Location: MoMA Museum Archives |
| extent | 114.25 linear feet |
| formats | Microfilm Scrapbooks |
| access | The records are open for research and contain no restricted materials. |
| record link | http://www.moma.org/learn/resources/archives/EAD/PublicInformationf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009761999707141 |
| finding aid | Available online and in repository. |
| acquisition information | The records were created and compiled by The Museum of Modern Art's Department of Communications. The department has been known as such since 1994. From the time of the department's creation in 1933 until the 1960s, it was known as the Department of Publicity and from then until 1994, it was the Department of Public Information. Series II was accessioned into the Museum Archives via internal transfer from the Department of Communications, 1989-2001. |
| updated | 11/29/2022 15:49:51 |
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| title | Calvin Tomkins Papers, 1860-2006 Bulk 1962-2006 | repository | The Museum of Modern Art |
| description | Professional papers of Calvin Tomkins, author, journalist, and contributor to the The New Yorker magazine. Biographical Note Calvin Tomkins was born December 17, 1925, in Orange, NJ. He received his undergraduate degree from Princeton University in 1948 and entered into a career in journalism, working first with Radio Free Europe from 1953 to 1957 and then, as a writer and editor, for Newsweek from 1957 to 1961. His first contributions to The New Yorker were published in 1958 and in 1961 he became a regular staff writer while only occasionally writing for other outlets. In 1980, in addition to continuing his longer pieces for the magazine, Tomkins was appointed the official art critic and wrote art reviews and other content on an almost weekly basis. That position terminated in 1986 but Tomkins continued as a staff writer at The New Yorker until the present. Tomkins' initial contributions to The New Yorker were short humor pieces (now known under the rubric Shouts and Murmurs.) He contributed six of these pieces between 1958 and 1960 before publishing his first Profile, on Jean Tinguely, in 1962. Tomkins' career at the magazine coincided with a new burgeoning of talent in the New York art world and his first two decades of writing traced the origins and rise to establishment of Pop Art, Earth Art, Minimalism, Video Art, Happenings and Installation Art; as well as profiling the curators, collectors, and gallery owners who helped popularize those artists and movements. Tomkins continued publishing longer articles two or three times a year interspersed with light humor pieces, The Talk of the Town articles and other shorter pieces, through 1980, when he became official art critic for the magazine. For more than five years Tomkins published art reviews on an almost weekly basis. The frequency of his major articles dropped during this time but did not cease. During his time as critic Tomkins was able to witness and chronicle the astonishing growth of the art market, the development of SoHo as a center of art and commerce, the revitalization of painting, and a host of new art movements. After this position ended, he resumed his former production of larger articles. During this time, The New Yorker itself changed, including more photographs and pictures, often as full- or double-page spreads. Tomkins often wrote paragraphs and captions to accompany these images; in many cases the writings were unattributed in the publication. In recent years, Tomkins' pace of article publication may have slowed, but he continues to regularly contribute to The New Yorker; his most recent articles appeared in 2007. Tomkins' first published book was Intermission: A Novel (New York: Viking Press, 1951), but his ensuing books flowed directly from his work at The New Yorker. The Lewis and Clark Trail (New York: Harper & Row, 1965) was written at the same time that Tomkins participated in an NBC documentary on the subject; an article concerning Lewis and Clark appeared in The New Yorker in 1966. Also in 1966, Time-Life published a volume by Tomkins in its series Time-Life Library of Art; The World of Marcel Duchamp (Time, Inc.: New York, 1966) drew on interviews and materials gathered for Tomkins' 1965 Profile. Eric Hoffer: An American Odyssey (New York: Dutton, 1969) was likewise an expansion of a 1967 Profile on the famed autodidact and philosopher. In 1968, Tomkins was contracted by The Metropolitan Museum of Art to write a history of that institution coincident with its centennial. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art (New York: E.P. Dutton, 1970) to this day remains a key reference work for the museum. Finally, Living Well is the Best Revenge (New York: Viking Press, 1971), a book on Gerald and Sara Murphy and the American Expatriate community in France between the world wars, was enlarged from a Profile of the same name published in 1962. It has proven to be Tomkins' most popular and enduring work, reprinted numerous times and published in a Modern Library edition in 1998. During this same period, the first book that reprinted and collected Tomkins' articles from The New Yorker appeared. The Bride and the Bachelors: The Heretical Courtship in Modern Art (New York: Viking, 1965) reprinted Profiles on Marcel Duchamp, Jean Tinguely, John Cage and Robert Rauschenberg; later editions also included a fifth Profile on Merce Cunningham. In 1976, The Scene: Reports on Post-Modern Art, (New York: Viking Press, 1976) reprinted articles on Andy Warhol, E.A.T., Henry Geldzahler, Tatyana Grossman, Earth Art, Jonas Mekas, Nam Jun Paik, and Robert Wilson. In 1980, Tomkins published Off the Wall: Robert Rauschenberg and the Art World of Our Time (New York: Doubleday, 1980). While the book centered on the career of Rauschenberg, it also depicted the activities of the New York art community in the 1960s and 1970s and drew heavily on all of Tomkins' research, interviews, and writings of the preceding twenty years. In 1988, Post- to Neo-: The Art World of the 1980's (New York, Henry Holt, 1988) included reprints of twenty-seven Art World reviews and one Profile originally published between 1980 and 1986. Aside from major books and collections of articles, Tomkins also contributed original or reprinted essays to artists' monographs and co-wrote books with his spouses. Monographs include Andy Warhol by John Coplans, (Greenwich, CT: New York Graphic Society,1970); Christo: Running Fence, with David Bourdon (New York: Abrams, 1979); Jennifer Bartlett, with Marge Goldwater and Roberta Smith (Minneapolis, MN: Walker Art Center, 1985); and Roy Lichtenstein: Mural with Blue Brushstroke, with Bob Adelman (New York: Abrams, 1987). With Judy Tomkins, he wrote The Other Hampton (New York: Viking-Grossman, 1974) and with Dodie Kazanjian, Alex: The Life of Alexander Liberman (New York: Knopf, 1993). In 2001, Tomkins contributed an original essay on R. Buckminster Fuller to Buckminster Fuller: Anthology for the New Millennium, Thomas T.K. Zung ed., (New York: St. Martin's Press, 2001). Tomkins had developed a long friendship with R. Buckminster Fuller beginning when Tomkins wrote his 1966 Profile on the scientist and inventor. For years, plans were discussed for Tomkins to write a biography of Fuller and in 1980 a contract for the book was signed with Doubleday. In 1984, after numerous extensions, the project was abandoned. Three years later, Tomkins chose as his next project a biography of Marcel Duchamp and Duchamp: A Biography was published in 1996 by Henry Holt. It is his most recent major work and a capstone to a decades-long fascination with the artist. Calvin Tomkins has been married four times: to Grace Lloyd Tomkins, to Judy Tomkins, to Susan Cheever, and finally to Dodie Kazanjian. Tomkins has three children by his first wife: Anne, Susan, and Spencer; and a daughter, Sarah, by Susan Cheever. Calvin Tomkins currently resides in New York and continues writing. |
| extent | 32 linear feet |
| formats | Correspondence Clippings Research Files Writings Photographs |
| access | The records are open for research and contain few restricted materials. |
| record source | http://www.moma.org/research/archives/EAD/Tomkinsf.html |
| finding aid | In the repository and on the repository's web site. |
| acquisition information | The collection was given to the Museum Archives by Calvin Tomkins in 2004. Additional accruals to the collection were received in 2005 and 2007. |
| updated | 11/12/2014 11:30:14 |
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| title | The Dorothy C. Miller Papers, ca. 1930-ca. 1980's, bulk ca. 1942-1969 | repository | The Museum of Modern Art |
| description | The processed Dorothy C. Miller Papers include correspondence, photographs, research notes and ephemera. Biographical/historical note MoMA curator (1935-1969) and honorary trustee (1984-), art advisor, editor. Related collections Related Collections: Dorothy C. Miller Papers, Archives of American Art; Holger C. Cahill Papers, New York Public Library. Note Forms part of: Museum of Modern Art (New York, N.Y.). Archives. Records. Location MoMA Museum Archives Call Number mmym MA |
| extent | 15 linear feet |
| formats | Correspondence Notes Photographs Clippings Ephemera |
| access | The Papers may be seen by appointment at The Museum of Modern Art Archives, 11 West 53rd Street, New York, New York 10019, (212) 708-9436. Access to the papers by qualified researchers is unrestricted, with the exception of certain material in Series III. |
| record link | http://www.moma.org/research/archives/EAD/dcmillerf.html |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991009761939707141 |
| finding aid | Finding aid in repository, see http://arcade.nyarc.org/record=b588227~S8 |
| acquisition information | Transferred from Miller's NY office at One MacDougal Alley, gift of Dorothy C. Miller, 1986. |
| updated | 11/29/2022 15:49:51 |
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| title | David Bourdon Correspondence, 1952-1997. | repository | The Museum of Modern Art |
| description | Received correspondence, conversation transcripts, and other material from the author and art critic, David Bourdon. Biographical Note David Bourdon was born October 15, 1934, and earned his undergraduate degree from Columbia University in 1961. He immediately entered into a career as a journalist and art critic writing through his career for periodicals such as Artforum International, Art in America, Arts Magazine, and Time, among others. In particular he worked as an assistant editor at Life, 1966-1971, an associate editor at Saturday Review, 1972, and Smithsonian, 1972-1974, a senior editor at Geo, 1981-1983, and a senior features editor at Vogue, 1983-1986. Additionally, he served as art critic for The Village Voice, 1964-1966 and 1974-1977. Bourdon wrote numerous books on modern artists including works on Alexander Calder, Niki de Saint-Phalle, Carl Andre, Christo and Jeanne-Claude, and Andy Warhol. David Bourdon died in New York on March 27, 1998. |
| extent | 2.5 linear feet |
| formats | Correspondence Transcript Ephemera Photographs |
| access | The records are open for research and contain no restricted materials. |
| record link | http://www.moma.org/learn/resources/archives/EAD/Bourdonf |
| record source | http://www.moma.org/learn/resources/archives/ |
| finding aid | Available online and at the repository. |
| acquisition information | The David Bourdon Correspondence was given to the Museum Archives in 1999 by Les Levine, executor of David Bourdon's estate. |
| updated | 11/12/2014 11:30:14 |
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