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Woman's Building records, 1970-1992

Creator:
Woman's Building (Los Angeles, Calif.)  Search this
Subject:
Chicago, Judy  Search this
De Bretteville, Sheila Levrant  Search this
Raven, Arlene  Search this
Feminist Studio Workshop  Search this
Women's Graphic Center (Los Angeles, Calif.)  Search this
Type:
Slides
Artists' books
Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Topic:
Works of art  Search this
Art -- Study and teaching -- California -- Los Angeles  Search this
Women artists  Search this
Feminism and art  Search this
Theme:
Women  Search this
Art organizations  Search this
Record number:
(DSI-AAA_CollID)6347
(DSI-AAA_SIRISBib)215074
AAA_collcode_womabuil
Theme:
Women
Art organizations
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215074
Online Media:

Nancy Holt Estate records, 1835, circa 1900-2014

Creator:
Holt, Nancy, 1938-2014  Search this
Subject:
Smithson, Robert  Search this
Lippard, Lucy R.  Search this
John Weber Gallery  Search this
James Cohan Gallery  Search this
Dia Art Foundation  Search this
Type:
Interviews
Diaries
Sound recordings
Video recordings
Drawings
Citation:
Nancy Holt Estate records, 1835, circa 1900-2014. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women sculptors  Search this
Earthworks (Art)  Search this
Women photographers  Search this
Women filmmakers  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22063
AAA_collcode_holtnanc
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22063
Online Media:

Oral history interview with Grace Hartigan, 1979 May 10

Interviewee:
Hartigan, Grace, 1922-2008  Search this
Interviewer:
Haifley, Julie  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Grace Hartigan, 1979 May 10. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)12326
(DSI-AAA_SIRISBib)212708
AAA_collcode_hartig79
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212708
Online Media:

Oral history interview with Grace Hartigan

Interviewee:
Hartigan, Grace  Search this
Interviewer:
Haifley, Julie  Search this
Extent:
2 Sound cassettes (Sound recording)
60 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1979 May 10
Scope and Contents:
An interview of Grace Hartigan conducted 1979 May 10, by Julia Link Haifley, at the artist's studio, in Baltimore, Md., for the Archives of American Art.
Hartigan speaks of her childhood and school experiences; her first marriage, painting classes with Isaac Lane Muse; the New York scene in the 1940s and 1950s; friendships with Pollock, Kline, De Kooning, Rothko, Guston, and others.
Biographical / Historical:
Grace Hartigan (1922-, painter of Baltimore, Md.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Painters -- Maryland -- Baltimore  Search this
Topic:
Women artists  Search this
Women painters  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hartig79
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98d05c7fe-cc48-4fc5-a398-60a0c42d2346
EDAN-URL:
ead_collection:sova-aaa-hartig79
Online Media:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Creator:
Lisle, Laurie  Search this
Names:
Nevelson, Louise, 1899-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Extent:
3.4 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1902-1990
Summary:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).
Scope and Contents:
The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The O'Keeffe portion of the collection consists of biographical papers, recordings, correspondence, and printed material. Biographical material includes academic records, maps and ephemera regarding O'Keeffe's various residences, and legal records concerning law suits and her will. The correspondents in this series include artists, gallery representatives and collectors, and exhibition organizers. Printed material consists of newspaper clippings, magazines, and exhibition announcements for both her and her husband, Alfred Stieglitz. Also included in the printed material is a file pertaining to Laurie Lisle's book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980).

The research material on Louise Nevelson consists of 97 audiocassettes featuring interviews with Louise Nevelson, some members of the Nevelson family, artists, dealers, and peers. The recordings were gathered in preparation for Lisles biography on Nevelson, Louise Nevelson: A Passionate Life (1990).
Arrangement:
Collection is arranged as two series.

Series 1: Research Files on Georgia O'Keeffe, 1902-1990 (1 linear foot; box 1)

Series 2: Interviews of and Related to Louise Nevelson, 1975-1988 (2.4 Linear feet; shoeboxes 2-7)
Biographical / Historical:
Laurie Lisle is an art historian and author in Sharon, Connecticut. Lisle is originally from Providence, Rhode Island and attended college at Ohio Wesleyan University. After college she held positions at The Providence Journal and Newsweek magazine. She has published five books covering the topics of art history, education, sociology, and her own life. Lisle is married to painter and printmaker Robert Kipniss.

Georgia O'Keeffe (1887-1986) was born in Sun Prairie, Wisconson in 1887. She was an artist who is mostly known for painting flowers, New York Skyscrapers, and New Mexico landscapes. O'Keeffe began high school at Sacred Heart Academy in Madison, Wisconsin, but ultimately graduated from Chatham Episcopal Institute in Virginia after her family moved to Williamsburg, Virginia in 1902. O'Keeffe went on to study at the School of Art Institute of Chicago, Art Students League, Teachers College of Columbia University, and taught art at high schools in Texas and at Chatham Episcopal Insitute, Columbia College, and became the chair of the art department at West Texas State Normal College. O'Keeffe's art was ultimately promoted by Alfred Stieglitz who, although eventually marrying O'Keeffe in 1924, first exhibited her artwork at his esteemed 291 gallery in New York City. O'Keeffe's fame as an artist took off from there. O'Keeffe was a member of the American Academy of Arts and Letters; she received the Presidential Medal of Freedom in 1977 and the National Medal of Arts in 1985; and in 1993 was inducted into the National Women's Hall of Fame.

Louise Nevelson (1899-1988) was born in Kiev, Russia in 1899. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985.
Related Materials:
The Archives of American Art also houses the Louise Nevelson papers, circa 1903-1979.
Provenance:
This collection was donated by Laurie Lisle in two separate installments. The material on Georgia O'Keeffe was donated in 1991, and the material on Louise Nevelson was donated in 2004.
Restrictions:
This collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Connecticut  Search this
Authors -- Connnecticut  Search this
Topic:
Women art historians  Search this
Women authors  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lisllaur
See more items in:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e8f2773f-cdd3-4d29-9ecb-ab2f66faef8f
EDAN-URL:
ead_collection:sova-aaa-lisllaur
Online Media:

Woman's Building records

Creator:
Woman's Building (Los Angeles, Calif.)  Search this
Names:
Feminist Studio Workshop  Search this
Women's Graphic Center (Los Angeles, Calif.)  Search this
Chicago, Judy, 1939-  Search this
De Bretteville, Sheila Levrant  Search this
Raven, Arlene  Search this
Extent:
32.5 Linear feet
Type:
Collection descriptions
Archival materials
Slides
Artists' books
Date:
1970-1992
Summary:
The records of the Woman's Building feminist arts organization in Los Angeles measure 32.5 linear feet and date from 1970-1992. Originally founded by artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven in 1973, the Woman's Building served as an education center and public gallery space for women artists in southern California. The records document both the educational and exhibition activities and consist of administrative records, financial and legal records, publications, curriculum files, exhibition files, grant funding records and artist's works of arts and prints. A significant portion of the collection documents the Women's Graphic Center, a typesetting, design, and printing service operated by The Woman's Building.
Scope and Content Note:
The records of the Woman's Building measure 32.5 linear feet and date from 1970 to 1992. The organization played a key role as an alternative space for women artists energized by the feminist movement in the 1970s. The records document the ways in which feminist theory shaped the Building's founding core mission and goals. During its eighteen year history, the Building served as an education center and a public gallery space for women artists in Los Angeles and southern California; the records reflect both functions of the Building's activities.

The Administrative Files series documents the daily operations of the Building, with particular emphasis on management policies, budget planning, history, cooperative relationships with outside art organizations and galleries, special building-wide programs, and relocation planning. Included in this series are the complete minutes from most Building committees from 1974 through closing, including the Board of Directors and the Advisory Council. The General Publicity and Outreach series is particularly complete, containing publicity notices from most events, exhibits, and programs held at the Woman's Building, including brochures, announcements, programs, invitations, press releases, newspaper clippings, and magazine articles.

The Woman's Building's educational programs centered on courses offered by the Feminist Studio Workshop and the Extension Program. While the Workshop provided a two-year program for women interested in fully developing their artistic talent, the Extension Program offered a broad range of classes, specifically oriented to working women interested in art and art vocations. The records fully document both programs, focusing on the course development and descriptions, teacher contracts, class evaluations, budget planning, and scholarship programs. Although the Archives does not have the entire slide library, there are files concerning the establishment and administration of the library, as well as a few folders of slides.

The Gallery Programs series houses the records of the visual, performing, literary and video arts events held at the Woman's Building. Administrative files detail the daily operation of the gallery spaces. The files in the remaining subseries are primarily arranged by event and contain proposals, announcements, publicity, and artist biographies.

The Women's Graphic Center became a profit-making arm of the Woman's Building in 1981 but the typesetting and design equipment had been used by staff and students since 1975. The records in this series focus on the work produced at the Center, including general projects and artist designs and art prints. Many of the design and printing examples were produced for Woman's Building events and programs.

The Artist's Works of Art series includes artist books, resumes, correspondence, postcards, and samples of art in the form of sketches, drawings, and prints. There is also material related to Woman's Building projects. Especially noteworthy is the "What is Feminist Art?" project where artists gave their responses in various formats and mediums from text to pieces of artwork.
Arrangement:
The collection is arranged into 6 series.

Series 1: Administrative Files, circa 1970-1991 (Box 1-9, 32; 9 linear feet)

Series 2: Educational Programs, 1971-1991 (Box 10-14; 4.9 linear feet)

Series 3: Gallery Programs, 1973-1991 (Box 14-20, OV 54; 5.7 linear feet)

Series 4: Women's Graphic Center, circa 1976-1989 (Box 20-23, 32, OV 33-50; 5.6 linear feet)

Series 5: Artists' Works of Art, circa 1972-1990 (Box 24-25, OV 51-53; 1.7 linear feet)

Series 6: Grants, 1974-1992 (Box 25-30; 5.3 linear feet)
Historical Note:
In 1973, artist Judy Chicago, graphic designer Sheila Levant de Bretteville, and art historian Arlene Raven founded the Feminist Studio Workshop (FSW), one of the first independent schools for women artists. The founders established the workshop as a non-profit alternative education center committed to developing art based on women's experiences. The FSW focused not only on the development of art skills, but also on the development of women's experiences and the incorporation of those experiences into their artwork. Central to this vision was the idea that art should not be separated from other activities related to the developing women's movement. In November of 1973 the founders rented workshop space in a vacated building in downtown Los Angeles and called it The Woman's Building, taking the name from the structure created for the 1893 World's Columbian Exposition in Chicago. The FSW shared space with other organizations and enterprises including several performance groups, Womanspace Gallery, Sisterhood Bookstore, the National Organization of Women, and the Women's Liberation Union.

When the building they were renting was sold in 1975, the FSW and a few other tenants moved to a three-story brick structure, originally designed to be the administrative offices of the Standard Oil Company in the 1920s. In the 1940s, it had been converted into a warehouse and consisted of three floors of open space, conducive to publically available extension classes and exhibitions offered by the Woman's Building staff and students. By 1977, the majority of the outside tenants had left the Woman's Building, primarily because they were unable to sustain business in the new location. The new building was more expensive to maintain and the FSW staff decided to hire an administrator and to create a board structure to assume the financial, legal, and administrative responsibility for the Building. The funds to operate came from FSW tuition, memberships, fund-raising events, and grant monies.

In 1981, the Feminist Studio Workshop closed, as the demand for alternative education diminished. The education programs of the Building were restructured to better accommodate the needs of working women. The Woman's Building also began to generate its own artistic programming with outside artists, including visual arts exhibits, performance art, readings, and video productions. That same year, the Woman's Building founded the Women's Graphic Center Typesetting and Design, a profit-making enterprises designed to strengthen its financial base. Income generated from the phototypesetting, design, production, and printing services was used to support the educational and art making activities of the Building.

When the graphics business closed in 1988, the Woman's Building suffered a financial crisis from which it never fully recovered. The Building closed its gallery and performance space in 1991.
Related Material:
Among the other resources relating to the Woman's Building in the Archives of American Art is an oral history with Suzanne Lacy on March 16, 1990, March 24, 1990, and September 24, 1990. While not credited as a founding member, Lacy was among the first group of staff of the Woman's Building which she discusses in her interview.

The Getty Research Institute also holds a large collection on the Woman's Building which includes a wide range of material relating to its exhibitions, activities, and projects.
Separated Material:
The Archives of American Art donated 5 boxes of video tape from the collection to the Long Beach Museum of Art, Video Annex in 1994. According to documentation, this was the desire of Sandra Golvin and the Board of Directors of the Woman's Building. Printed material collected but not produced by the Woman's Building regarding feminism was transfered to Smithsonian Institution Libraries.
Provenance:
The Woman's Building records were donated to the Archives of American Art in 1991 by Sandra Golvin, President of the Board of Directors. An small addition of a set of "Cross Pollination" posters was donated in 2019 by by ONE Archives at University of Southern California Libraries via Loni Shibuyama, Archives Librarian.
Topic:
Works of art  Search this
Art -- Study and teaching -- California -- Los Angeles  Search this
Women artists  Search this
Feminism and art  Search this
Function:
Nonprofit organizations -- California
Arts organizations -- California
Genre/Form:
Slides
Artists' books
Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.womabuil
See more items in:
Woman's Building records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw938796dfe-5dbf-49e9-96e7-5a8745391f13
EDAN-URL:
ead_collection:sova-aaa-womabuil
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Online Media:

Noche Crist papers, circa 1946-2001

Creator:
Crist, Noche, 1909-2004  Search this
Subject:
Lassman, Vivienne M.  Search this
Citation:
Noche Crist papers, circa 1946-2001. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Outsider art  Search this
Self-taught artists -- Washington (D.C.)  Search this
Interviews  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22308
AAA_collcode_crisnoch
Theme:
Sketches & Sketchbooks
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22308

Noche Crist papers

Creator:
Crist, Noche  Search this
Names:
Lassman, Vivienne M.  Search this
Extent:
6.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1946-2001
Scope and Contents:
The papers of Washington D.C. based artist Noche Crist measure 6.3 linear feet and date from circa 1946-2001. Included is biographical material, interviews, correspondence, writings, exhibition files, financial records, personal business records, printed material, photographs and works of art regarding Crist's career. Also included are a administrative files created by independent curator and executor Vivienne Lassman related to organizing Crist's legacy. A portion of the collections contains born digital and audio visual material.
Biographical / Historical:
Noche Crist (1909-2004) was an artist in Washington, D.C.­ Originally from Romania, Noche Crist was active in the Washington art world in many ways including experimenting with new materials, showing in spaces such as the Washington Project for the Arts, Glen Echo, the Corcoran, the Katzen Museum, and co-founding Gallery 10. Her work is also held in the collection of the Visionary Art Museum in Baltimore, and she is often categorized in literature as an Outsider artist. Crist also wrote and directed short plays and worked in the silkscreen medium.
Provenance:
The papers were donated in 2023 by Vivienne Lassman.
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 and born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Washington (D.C.)  Search this
Topic:
Women artists  Search this
Outsider art  Search this
Self-taught artists -- Washington (D.C.)  Search this
Interviews  Search this
Identifier:
AAA.crisnoch
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9de5b8c65-1161-4ed0-8216-64b97a2d4b34
EDAN-URL:
ead_collection:sova-aaa-crisnoch

Time-lapse of creating "Picturing a City: A Comic About Berenice Abbott"

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2021-08-12T17:46:17.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_23-11rNVf_8

Field for Skyes

Artist:
Joan Mitchell, American, b. Chicago, Illinois, 1925–1992  Search this
Medium:
Oil on canvas
Dimensions:
110 1/4 × 204 3/4 in. (280 × 520.1 cm)
Type:
Painting
Date:
1973
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Mr. and Mrs. David T. Workman, 1975
Accession Number:
75.20
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Abstract Expressionism (Second Generation)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2b742002a-9a46-4d25-aff1-979a50e54daa
EDAN-URL:
edanmdm:hmsg_75.20

Nell Blaine papers, 1879, 1940-1985

Creator:
Blaine, Nell Blair Walden, 1922-1996  Search this
Subject:
Griffin, Howard  Search this
Harris, Carolyn  Search this
Citation:
Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Scrapbooks  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7214
(DSI-AAA_SIRISBib)209351
AAA_collcode_blainell
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209351
Online Media:

Shirley Gorelick papers, 1939-2008, 2016, bulk 1939-1980s

Creator:
Gorelick, Shirley, 1924-2000  Search this
Subject:
Gorelick, Leonard  Search this
Soho 20 (Gallery)  Search this
Central Hall Gallery (Port Washington, N.Y.)  Search this
Type:
Sketchbooks
Citation:
Shirley Gorelick papers, 1939-2008, 2016, bulk 1939-1980s. Archives of American Art, Smithsonian Institution.
Topic:
Sister Chapel (Art installation)  Search this
Women painters  Search this
Women artists  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22098
AAA_collcode_goreshir
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22098
Online Media:

Ruth G. Barnet material related to Chiura Obata, circa 1950-1968

Creator:
Barnet, Ruth G., 1918-2018  Search this
Subject:
Obata, Chiura  Search this
Type:
Drawings
Citation:
Ruth G. Barnet material related to Chiura Obata, circa 1950-1968. Archives of American Art, Smithsonian Institution.
Topic:
Asian American artists  Search this
Women artists  Search this
Theme:
Asian American  Search this
Art instruction and services  Search this
Record number:
(DSI-AAA_CollID)22174
AAA_collcode_barnruth
Theme:
Asian American
Art instruction and services
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22174

Miriam Wosk papers, 1961-2013

Creator:
Wosk, Miriam, 1947-2010  Search this
Subject:
Gehry, Frank O.  Search this
Type:
Scrapbooks
Sketchbooks
Drawings
Diaries
Citation:
Miriam Wosk papers, 1961-2013. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)21658
(DSI-AAA_SIRISBib)397966
AAA_collcode_woskmiri
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_397966
Online Media:

Oral history interview with Marian Hettner Grunbaum, 1980 May 14

Interviewee:
Grunbaum, Marian Hettner, 1894-2000  Search this
Interviewer:
Levy, Sandra Curtis  Search this
Subject:
Menil, John de  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Marian Hettner Grunbaum, 1980 May 14. Archives of American Art, Smithsonian Institution.
Topic:
Painting, Modern -- 20th century  Search this
Women artists  Search this
Women painters  Search this
German American artists  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)13291
(DSI-AAA_SIRISBib)213326
AAA_collcode_grunba80
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213326
Online Media:

Oral history interview with Ellen Lanyon, 1975 Dec. 5

Interviewee:
Lanyon, Ellen, 1926-2013  Search this
Interviewer:
Crawford, James, 1944-  Search this
Subject:
Berdich, Vera  Search this
Blackshear, Kathleen  Search this
Buehr, George Frederick  Search this
Carleback, Julius  Search this
Ginzel, Roland  Search this
Grooms, Red  Search this
Hirsch, Joseph  Search this
Hoff, Margo  Search this
Lasansky, Mauricio  Search this
Rupprecht, Edgar A.  Search this
Schniewind, Carl Oscar  Search this
Watson, Dudley Crafts  Search this
Abercrombie, Gertrude  Search this
Golub, Leon  Search this
Ox-Bow Summer School of Painting  Search this
Art Institute of Chicago. School  Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Ellen Lanyon, 1975 Dec. 5. Archives of American Art, Smithsonian Institution.
Topic:
Mural painting and decoration  Search this
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women educators  Search this
Women muralists  Search this
Feminism and art  Search this
Theme:
Women  Search this
Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this
Record number:
(DSI-AAA_CollID)11523
(DSI-AAA_SIRISBib)214174
AAA_collcode_lanyon75
Theme:
Women
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214174

Oral history interview with Marian Hettner Grunbaum

Interviewee:
Grunbaum, Marian Hettner, 1894-2000  Search this
Interviewer:
Levy, Sandra Curtis  Search this
Names:
Menil, John de  Search this
Extent:
1 Sound tape reel (Sound recording, 5 in.)
56 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1980 May 14
Scope and Contents:
An interview of Marian Hettner Grunbaum conducted 1980 May 14, by Sandra Curtis Levy, for the Archives of American Art. She discusses growing up in Germany; her earlier career as a musician; leaving Germany with her Jewish husband during Hitler's rise to power; immigrating to the United States and settling in Houston, Texas; her work as a painter; John de Menil; the Houston, Texas arts scene 1930s-1970s.
Biographical / Historical:
Marian Hettner Grunbaum (ca. 1896-2000) was a painter from Dresden, Germany, who immigrated to Houston, Texas in 1937.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Artists -- Texas -- Houston  Search this
Painters -- Texas -- Houston  Search this
Topic:
Painting, Modern -- 20th century  Search this
Women artists  Search this
Women painters  Search this
German American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.grunba80
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e774067e-7115-4aee-ab3f-380df1f1b627
EDAN-URL:
ead_collection:sova-aaa-grunba80
Online Media:

Oral history interview with Ellen Lanyon

Interviewee:
Lanyon, Ellen  Search this
Interviewer:
Crawford, James, 1944-  Search this
Names:
Art Institute of Chicago. School  Search this
Ox-Bow Summer School of Painting  Search this
Abercrombie, Gertrude, 1909-1977  Search this
Berdich, Vera, 1915-2003  Search this
Blackshear, Kathleen, 1897-1988  Search this
Buehr, George Frederick, 1905-1983  Search this
Carleback, Julius  Search this
Ginzel, Roland, 1921-  Search this
Golub, Leon, 1922-2004  Search this
Grooms, Red  Search this
Hirsch, Joseph, 1910-1981  Search this
Hoff, Margo  Search this
Lasansky, Mauricio, 1914-  Search this
Rupprecht, Edgar A.  Search this
Schniewind, Carl Oscar, 1900-1957  Search this
Watson, Dudley Crafts, 1885-  Search this
Extent:
5 Sound tapes (5 in.)
229 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tapes
Pages
Sound recordings
Interviews
Date:
1975 Dec. 5
Scope and Contents:
Interview of Ellen Lanyon conducted 1975 December 5-7 and 1976 January 15-16 and 18 by James Crawford for the Archives of American Art.
Lanyon speaks of family background; interests in art and music and collecting objects and antiques; her early art education; remembrances of 1933 Chicago World's Fair; Art Institute of Chicago; Momentum group; Oxbow Summer School of Painting; her work and techniques; exhibitions; Institute of Design; marriage and move to University of Iowa; Iowa art department, Iowa print group; Fulbright to England; travel in France and Italy; return to Chicago; founding of graphic workshop; Hairy Who group; The Imagists; Seven and Up exhibitions; Red Grooms in Chicago; and commissions. She recalls George Buehr, Margo Hoff, Dudley Crafts Watson, Vera Berdich, Joseph Hirsch, Carl Schneiwind, Kathleen Blackshear, Mauricio Lasansky, Gertrude Abercrombie, Julius Carleback, Roland Ginzel, and Edgar Rupprecht. She also discusses her family; changes in medium and style of her artwork; symbolism, and feminism.
Biographical / Historical:
Ellen Lanyon (1926-2013) was a painter and printmaker from Chicago, Illinois.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Muralists -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Printmakers -- Illinois -- Chicago  Search this
Topic:
Mural painting and decoration  Search this
Art, American  Search this
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women educators  Search this
Women muralists  Search this
Feminism and art  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lanyon75
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97fd52325-f0b9-474d-b6fa-40cd5ed41bdd
EDAN-URL:
ead_collection:sova-aaa-lanyon75
Online Media:

Miriam Wosk papers

Creator:
Wosk, Miriam, 1947-2010  Search this
Names:
Gehry, Frank O., 1929-  Search this
Extent:
17 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Drawings
Diaries
Date:
1961-2013
Summary:
The papers of illustrator and artist Miriam Wosk measure 17 linear feet and date from 1961 to 2013. The collection includes biographical material, personal and professional correspondence, diaries, dream journals, writings, personal business records, scrapbooks, printed material, sketchbooks, sketches, photographic material, and photograph albums.
Scope and Contents:
The papers of illustrator and artist Miriam Wosk measure 17 linear feet and date from 1961 to 2013. The collection includes biographical material, personal and professional correspondence, diaries, dream journals, writings, personal business records, scrapbooks, printed material, sketchbooks, sketches, photographic material, and photograph albums.

Biographical material consists of an address book, interview transcript, driver's license, stationary, a short documentary about Miriam Wosk, two guest books for exhibitions, resumes, and other documents.

Correspondence includes personal and professional correspondence with friends, family, artists, galleries, and museums. There is a substantial amount of correspondence with Wosk's brothers and parents.

The bulk of the written material in this collection is comprised of diaries and journals. There are 25 diaries from the early 1960s to the late 1980s, one "dream workbook," and 26 "dreamwork journals" from the late 1980s to 2010. Aside from the diaries and journals, there are a few scattered writings such as artist statements, essays, loose journal entries, notebooks on Wosk's art practice, and also one folder of writings by others.

Personal business records mostly contain documents regarding the finances, management, and disposition of Miriam Wosks artwork in the form of sales records, registries, donations, price lists, and inventories. Other material in the series includes files on special design projects and studio practice files. There are also architectural plans and design plans for the remodeling of several of Wosk's residences.

There are 3 scrapbooks of printed material about Miriam Wosk and her art, and 12 scrapbooks of clippings of miscellaneous images, mostly art by other artists, that she found to be of interest.

Printed material includes exhibition announcements and catalogs, clippings, and magazines. Clippings make up the bulk of this series and they are divided into two categories: interviews and articles about Miriam Wosk, her art, and her residences; and illustrations created by Wosk for various magazines during the 1970s.

Artwork mostly consists of sketchbooks, loose sketches, and studies. The sketchbooks often include journal entries and notes.

Photographic material includes photographs, slides, transparencies, albums, and a few digital images. The vast majority of this series consists of images of Miriam Wosk's artwork from the late 1960s to 2009, with a few photographs of the artist and her houses. There are some snapshots of artwork by other artists which Wosk probably took for reference.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, 1968-2010 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1967-2009 (1.6 linear feet; Boxes 1-2, 14)

Series 3: Diaries, Journals, and Writings, 1961-2009 (4.5 linear feet; Boxes 2-7)

Series 4: Personal Business Records, 1969-2013 (1.7 linear feet; Box 7, OVs 21-29)

Series 5: Scrapbooks, circa 1970-2010 (2 linear feet; Boxes 8, 14-18, 20)

Series 6: Printed Material, 1968-2013 (1 linear feet; Boxes 8, 19-20)

Series 7: Artwork, circa 1970-2010 (2 linear feet; Boxes 9, 19, OVs 30-37)

Series 8: Photographic Material, circa 1970-circa 2009 (4 linear feet; Boxes 10-13, 20)
Biographical / Historical:
Miriam Wosk (1947-2010) was an illustrator and mixed media artist in Los Angeles and Santa Monica, California. She was born in Vancouver, Canada to Morris and Dena Wosk. Wosk moved to New York City when she was 19 so she could attend the Fashion Institute of Technology, where she studied illustration.

She became a freelance illustrator and did work for many magazines, including Mademoiselle, The New York Times, and Vogue. Especially noteworthy is the cover that she designed of the first issue of Ms. Magazine in 1971. She continued her work as an illustrator through the 1970s and then moved to Los Angles, California, and transitioned to focus on her career as an artist.

In 1981, she commissioned architect Frank Gehry to redesign the apartment building she bought in Beverly Hills, with special focus on the penthouse where she would live. Wosk's creative vision transformed the remodeling project into a collaboration and she gave Gehry design plans for the tiles, stair railings, and other features of the residence. Wosk would hire architects for other properties she owned as well.

Once in California, Wosk immersed herself in her artistic career and went on to become a highly respected mixed media artist, frequently working with paint, pastel, and collage. Her artwork often incorporated a variety of materials such as crystals, wire, foil, clippings, glitter, postcards, and found objects. Her work is often described as Surrealist. Dreams and the natural world are often themes in her art. Wosk's artwork was featured in numerous group and solo exhibitions in California, New York, and across the country. In 2010, she died in Santa Monica, California.
Provenance:
The Miriam Wosk papers were donated to the Archives of American Art in 2013 and 2019 by the Miriam Wosk Family trust via Adam Gunther, Wosk's son and trustee of her estate.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records in this collection must use access copies. Contact Reference Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.

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:
Illustrators -- California -- Los Angeles  Search this
Mixed-media artists -- California -- Los Angeles  Search this
Topic:
Women artists  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Drawings
Diaries
Citation:
Miriam Wosk papers, 1961-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woskmiri
See more items in:
Miriam Wosk papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cd274db2-de51-441e-b979-13a9c5b6a62a
EDAN-URL:
ead_collection:sova-aaa-woskmiri
Online Media:

Shirley Gorelick papers

Topic:
Sister Chapel (Art installation)
Creator:
Gorelick, Shirley, 1924-2000  Search this
Names:
Central Hall Gallery (Port Washington, N.Y.)  Search this
Soho 20 (Gallery)  Search this
Gorelick, Leonard  Search this
Extent:
4.8 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1939-2008
2016
bulk 1939-1980s
Summary:
The papers of painter Shirley Gorelick measure 4.8 linear feet and date from 1939-2008, 2016, with the bulk of the material dating from 1939-1980s. The collection documents Gorelick's life and career through biographical material, personal and professional correspondence, scattered writings, professional files recording her involvement with art collectives and galleries owned and/or run by women, printed and photographic material, and nine sketchbooks and loose sketches.
Scope and Contents:
The papers of painter Shirley Gorelick measure 4.8 linear feet and date from 1939-2008, 2016, with the bulk of the material dating from 1939-1980s. The collection documents Gorelick's life and career through biographical material, personal and professional correspondence, scattered writings, professional files recording her involvement with art collectives and galleries owned and/or run by women, printed and photographic material, and nine sketchbooks and loose sketches.

Biographical material includes resumes and some early employment and education records. Personal correspondence primarily records the first years of Gorelick's marriage and provides insight into her early career through detailed correspondence with her husband, Leonard Gorelick. Professional correspondence is with multiple art galleries, organizations, and institutions primarily relating to exhibitions, pricing of her artwork, sales, and press reviews of her work, including by Lawrence Alloway who corresponded with Gorelick.

Scant writings include artists statements and notes as well as two papers Gorelick wrote as a student.

Professional files include price lists and an inventory of Gorelick's fine art collection, and also document her involvement with SOHO 20 and Central Hall Gallery and her contribution to The Sister Chapel installation.

Printed material documents Gorelick's extensive exhibition history through announcements, catalogs, and press reviews of her solo and group exhibitions and related awards.

Gorelick's sketchbooks comprise 9 volumes with some additional loose sketches enclosed, primarily containing figure studies in pencil. The series also includes an etching and a pencil study.

Photographic material provides what appears to be a comprehensive catalog of Gorelick's artwork from the 1960s through the 1980s, including slides and photos of many of her paintings, intaglio prints, and silverpoint drawings, as well as some of the models Gorelick worked with repeatedly. Also found are photos of Gorelick including portraits, studio photos, and photos of her with friends, colleagues, and family, and of Gorelick at events including exhibition openings and installations.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, circa 1942-2000 (Box 1; 7 folders)

Series 2: Correspondence, 1939-1994 (Box 1; 0.7 linear feet)

Series 3: Writings, 1942-circa 1980s (Box 1; 4 folders)

Series 4: Professional Files, circa 1960-1996, 2016 (Box 1; 7 folders)

Series 5: Printed Material, circa 1940s-2008 (Boxes 2-3, OV 7; 1.8 linear feet)

Series 6: Sketchbooks, circa 1960s-circa 1980s (Boxes 2, 6; 0.3 linear feet)

Series 7: Photographic Material, 1960s-1990s (Boxes 3-5; 1.7 linear feet)
Biographical / Historical:
New York and Washington, D.C. painter Shirley Gorelick (1924-2000) is known primarily for her large-scale portraits in acrylic. Gorelick described her work as "psychological portraiture," that depicted couples and families through an intimate and empathic lens.

Gorelick was born Shirley Fishman in Brooklyn, New York. Her education involved studying with Chaim Gross, Moses Soyer, and Raphael Soyer, and then with Serge Chermayeff at Brooklyn College where she earned her B. A. in 1944. Gorelick subsequently earned an M. A. at Teachers College, Columbia University, briefly attended the Hans Hofmann School of Art in Provincetown, Massachusetts, and also studied with Betty Holliday in Port Washington, Long Island. In 1944 Gorelick married Leonard Gorelick, a dentist with a passion for art and science.

Gorelick's early work was influenced by Cubism, Surrealism, and Abstract Expressionism, but she ultimately gravitated towards realistic, figurative portraits painted from photographs and direct observation. While working primarily in acrylic, she was also known for her silverpoint drawings and intaglio prints. Working with middle-aged couples and family groups repeatedly in the 1970s and 1980s, Gorelick's work explores the psychological state of her subjects as they directly engage the viewer.

In 1973, Gorelick was a founding member of Central Hall Gallery, a cooperative run by all women artists in Port Washington. She also had six solo exhibitions and participated in numerous group shows at SOHO 20, the second all-women artist-run exhibition space in New York City. She was one of thirteen women artists who collaborated on The Sister Chapel, painting a nine-foot portrait of Frida Kahlo for the installation which premiered at P.S. 1 in Long Island City in 1976.

Gorelick's work was widely exhibited, particularly in the 1970s and 1980s, and she is represented in the collections of the Minneapolis Institute of Art, the National Museum of Women in the Arts, Provincetown Art Association and Museum, the Baltimore Museum of Art, and the Brooklyn Museum, among others.

Gorelick died in Washington D.C. in 2000.
Provenance:
The collection was donated to the Archives of American Art in 2021 and 2022 by Jamie Gorelick, Shirley Gorelick's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Painters -- Washington (D.C.)  Search this
Portrait painters -- New York (State) -- New York  Search this
Portrait painters -- Washington (D.C.)  Search this
Topic:
Women painters  Search this
Women artists  Search this
Genre/Form:
Sketchbooks
Citation:
Shirley Gorelick papers, 1939-2008, 2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.goreshir
See more items in:
Shirley Gorelick papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw998fcf57a-8666-49f7-8cad-cc18eb68362f
EDAN-URL:
ead_collection:sova-aaa-goreshir
Online Media:

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