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Garry Gross Opening

Collection Creator:
De Land, Colin, 1955-2003  Search this
Container:
Box 7, Folder 40
Type:
Archival materials
Photographs
Date:
1998 September
Scope and Contents:
Includes photos of opening reception for Garry Gross, Brooke Shields, The Woman and the Child (1998) at American Fine Arts, with David Karlin, Spencer Sweeney, Jaiko Suzuki, Brian Degraw, Massimo Audiello, Brice Marden, Helen Marden, Rachel Harrison, Garry Gross, Christine Tsvetanov, Daniel McDonald, John Waters, Takahiro Imamura, Carol Greene, Jacqueline Humphries, Dennis Dermody, and Patricia Hearst.
Collection Restrictions:
Use of original material requires an appointment. The audio visual material in this collection has access restrictions and requires written permission for use.
Collection Rights:
The Colin de Land papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Colin de Land collection
Colin de Land collection / Series 1: Photographic Material / 1.1: Snapshots
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-delacoli-ref425

Garry Gross and John Knight Exhibitions

Collection Creator:
De Land, Colin, 1955-2003  Search this
Container:
Box 8, Folder 2
Type:
Archival materials
Photographs
Date:
1998 September-October
Scope and Contents:
Includes photos of Christine Tsvetanov, Rosalie Knox, Cris Moor, Carol Greene, Pat Hearn, Daniel McDonald, Garry Gross, Julian LaVerdiere, Rachel Harrison, artwork by John Knight and Garry Gross, Brooke Shields: The Woman and the Child (1998).
Collection Restrictions:
Use of original material requires an appointment. The audio visual material in this collection has access restrictions and requires written permission for use.
Collection Rights:
The Colin de Land papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Colin de Land collection
Colin de Land collection / Series 1: Photographic Material / 1.1: Snapshots
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-delacoli-ref429

Unsorted Photographs (2 of 25)

Collection Creator:
De Land, Colin, 1955-2003  Search this
Container:
Box 13, Folder 5
Type:
Archival materials
Photographs
Date:
circa 1980s-1990s
Scope and Contents:
Includes photos of Jeffery Deitch in Japan, Pat Hearn, Chivas Clem, Moyra Davey with her child, Colin de Land, an unidentified art fair.
Collection Restrictions:
Use of original material requires an appointment. The audio visual material in this collection has access restrictions and requires written permission for use.
Collection Rights:
The Colin de Land papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Colin de Land collection
Colin de Land collection / Series 1: Photographic Material / 1.1: Snapshots
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-delacoli-ref678

C. J. (Clarence Joseph) Bulliet papers

Creator:
Bulliet, C.J. (Clarence Joseph), 1883-1952  Search this
Names:
Bulliet, Katherine Adams  Search this
Chapin, James, 1887-1975  Search this
Mantell, Robert B. (Robert Bruce), 1854-1928  Search this
Sheets, Millard, 1907-1989  Search this
Extent:
34.6 Linear feet
Type:
Collection descriptions
Archival materials
Prints
Sketchbooks
Photographs
Drawings
Place:
United States -- Social life and customs
Date:
circa 1888-1959
Summary:
The C. J. (Clarence Joseph) Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.
Scope and Content Note:
The C. J. Bulliet papers measure 34.6 linear feet and are dated circa 1888-1959. Biographical materials, correspondence, writings, subject and artist files, printed material, photographs, and artwork document the career of the influential Chicago art critic and writer. The records contain extensive information about art and artists in Chicago and the Midwest from the early to mid-twentieth century.

Biographical materials, circa 1888-1952, about C. J. Bulliet and his artist wife, Katherine Adams Bulliet, include Adams family genealogy, biographical notes, inventory and notes about Bulliet's art collection, miscellaneous items, and photographs. Photographs include portraits of C. J. Bulliet as a young child, and photographs around the time of his graduation from Indiana University. Other photographs are group shots of Bulliet with Mrs. Bulliet, Millard Sheets, Mr. and Mrs. Peyton Boswell, Jr., James Chapin, the Chicago Daily News staff, and other Chicago art critics.

Correspondence, 1901-1942, documents Bulliet's professional and personal life. Professional correspondence provides a good overview of the art scene, activities, and attitudes in Chicago during the 1930s and 1940s. Many letters from newspaper readers contain both positive and negative reactions to his columns. Personal correspondence consists mainly of letters Bulliet wrote to his wife while on the road with Robert Mantell and his Shakespeare company. Other personal correspondence is with friends and relatives, and includes some letters addressed to Katherine Adams Bulliet.

Writings, 1929-1951, consist of notes, drafts, and final manuscripts of published and unpublished articles and essays, books, fiction and poems, lectures, and reviews by C. J. Bulliet. A small number of manuscripts are by other authors.

Artist files, 1919-1952, document a wide variety of artists from the Renaissance through the mid-twentieth century. Artists represented are American, European, and Asian; of particular interest are files relating to Chicago area artists, both well known and obscure. They consist largely of photographs of works of art and a small number of photographs of artists. A small percentage includes correspondence, notes and drafts of texts by Bulliet, printed material, and a few original prints.

Subject files, 1909-1952, concern topics that interested Bulliet. They consist mainly of photographs and printed material, with a small amount of correspondence.

Printed material, 1909-1959, by Bulliet consists of newspaper articles and columns, books, and reviews of art, books, and music. Items produced by others include books, clippings, museum and art school publications, periodicals, and press releases. Exhibition related items, consisting of announcements, invitations, catalogs, checklists, and prospectuses, are categorized by venues - Chicago and elsewhere.

Art work, 1916-1948, mainly by Chicago area artists, consists of prints, drawings, and a sketchbook, most likely given to Bulliet by the artists themselves.
Arrangement:
Series 2: Correspondence, Series 4: Artist Files, Series 5: Subject Files, and Series 7: Artwork are arranged alphabetically. Other series, organized by record type, are arranged chronologically within each category, as noted in the series descriptions/container listing below.

The collection is arranged into 7 series:

Series 1: Biographical Materials, circa 1888-1952 (Box 1; 6 folders)

Series 2: Correspondence, 1901-1952 (Boxes 1-2; 2 linear ft.)

Series 3: Writings, 1929-1951 (Boxes 3-4; 2 linear ft.)

Series 4: Artist Files, 1919-1952 (Boxes 5-24; 20 linear ft.)

Series 5: Subject Files, 1909-1952 (Boxes 25-27, 37; 2.3 linear ft.)

Series 6: Printed Material, 1909-1959 (Boxes 27-34, 36-37; 7.7 linear ft.)

Series 7: Artwork, 1916-1948 (Boxes 35, 38, OV 39; 0.6 linear ft.)
Biographical Note:
Known for his support of modernism, C. J. Bulliet spent the majority of his long newspaper career in Chicago. Born Clarence Joseph Bulleit in Corydon, Indiana, he studied English, astronomy, and mathematics at Indiana University. After graduating in 1905, he became a member of the Indiana University Total Eclipse Expedition to Spain in its search for a planet within Mercury's orbit. During World War I the spelling to Bulliet was changed to avoid any connection with Germany.

Upon returning to the United States, Bulliet began his newspaper career as a reporter for the Louisville Herald, soon moved to the Indianapolis Star as a police reporter, and eventually was named its drama critic. Between 1912 and 1921, he traveled extensively throughout the country as a press agent for Shakespearean actor Robert B. Mantell. During this period, he published his first book, a biography titled Robert Mantell's Romance. World War I interrupted Mantell's tour for two years, during which time Bulliet was press representative for D. W. Griffith's Birth of a Nation. He returned to the Louisville Herald for two years before moving to Chicago.

In 1923, the Chicago Evening Post established "The Art World Magazine," a weekly tabloid section reporting local, national, and international art news. C.J. Bulliet became the magazine's first (and only) editor. In addition, he served as the paper's drama critic. When the Chicago Evening Post was sold in 1932, becoming the Chicago Daily News, Bulliet was appointed its art critic. Although Bulliet was an experienced reporter, writer, and editor with a broad general knowledge of theater and drama, he had virtually no background in art or art history. An avid reader, he was determined to learn as much as he could, and managed to make himself an expert in a relatively short time. From 1924 until his death in 1952, C. J. Bulliet was the most important art critic in Chicago. His strong support of modernism and the gossipy, entertaining style of his columns made him a popular and controversial figure with great local influence on public opinion, exhibitions, and patronage. In addition to his work on the Chicago newspapers, C. J. Bulliet contributed articles to Art Digest, the New York Times, and other national publications.

Once established as an art editor and critic, C. J. Bulliet began writing extensively on art, and published many books on the subject for general readers. The first, Apples and Madonnas: Emotional Expression in Modern Art (1927), was extremely well-received and remained in print through many editions. Other titles include: Tour of the Exhibition of the Works of Alexander Archipenko (1927), The Courtezan Olympia: An Intimate Survey of Artists and their Mistress-Models (1930), Art Masterpieces: In a Century of Progress Fine Art Exhibition at the Art Institute of Chicago (1933), Paintings, An Introduction to Art (1934); The Significant Moderns and Their Pictures (1936), Masterpieces of Italian Art (1939), French Art from David to Matisse: As Set Forth in 20 Masterpieces of the French Exhibit at the Art Institute of Chicago (1941), Art Treasures from Vienna (1949), and The Story of Lent in Art (1951). He published books on other subjects, as well. In addition to his 1918 biography of Robert B. Mantell, they are: Venus Castina: Famous Female Impersonators, Celestial and Human (1933) and How Grand Opera Came to Chicago (1940-1941).
Provenance:
The papers were donated to the Archives in 1984 by C. J. Bulliet's son, Lender J. Bulliet. Additional records were given by Rockford College, Rockford, Illinois, in 1987.
Restrictions:
Use of original papers requires an appointment.
Rights:
The C. J. Bulliet papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art critics -- Illinois -- Chicago  Search this
Artists -- Illinois -- Chicago  Search this
Modernism (Art)  Search this
Art criticism -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Genre/Form:
Prints
Sketchbooks
Photographs
Drawings
Citation:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bullclar
See more items in:
C. J. (Clarence Joseph) Bulliet papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bullclar
Online Media:

Hassam, Childe

Collection Creator:
Bulliet, C.J. (Clarence Joseph), 1883-1952  Search this
Container:
Box 13, Folder 4
Type:
Archival materials
Date:
circa 1888-1959
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The C. J. Bulliet papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
The C. J. Bulliet papers, circa 1888-1959. Archives of American Art, Smithsonian Institution.
See more items in:
C. J. (Clarence Joseph) Bulliet papers
C. J. (Clarence Joseph) Bulliet papers / Series 4: Artist Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bullclar-ref1441

Nancy Douglas Bowditch

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 5, Folder 26
Type:
Archival materials
Date:
circa 1898-1905
Scope and Contents note:
Nancy Douglas Bowditch as a Child
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Douglas Bowditch and Brush family papers
Nancy Douglas Bowditch and Brush family papers / Series 9: Photographs / Portraits
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref349

Nancy Douglas Bowditch

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 5, Folder 28
Type:
Archival materials
Date:
circa 1920s
Scope and Contents note:
Nancy with a child, probably Polly Peamrain
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Douglas Bowditch and Brush family papers
Nancy Douglas Bowditch and Brush family papers / Series 9: Photographs / Portraits
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref353

Nancy Douglas Bowditch (?) as a Young Child

Collection Creator:
Bowditch, Nancy Douglas  Search this
Container:
Box 5, Folder 55
Type:
Archival materials
Date:
circa 1890
Collection Restrictions:
Use of originals requires an appointment.
Collection Rights:
The Nancy Douglas Bowditch and Brush family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Nancy Douglas Bowditch and Brush family papers, circa 1860-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Nancy Douglas Bowditch and Brush family papers
Nancy Douglas Bowditch and Brush family papers / Series 9: Photographs / Snapshots
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-bowdnanc-ref391

Josef Albers papers

Creator:
Albers, Josef  Search this
Names:
Baltimore Museum of Art  Search this
Maryland Institute, College of Art  Search this
Albers, Anni  Search this
Arp, Jean, 1887-1966  Search this
Leake, Eugene, 1911-  Search this
Tyler, Kenneth E.  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Transcripts
Poems
Interviews
Date:
1929-1970
Summary:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.
Scope and Contents:
The papers of painter, printmaker, and art teacher Josef Albers date from 1929 to 1970 and measure 1.5 linear feet. Found within the papers are biographical materials, writings, a recorded lecture, and photographs. The bulk of the collection consists of printed materials.

Biographical material consists of a curriculum vitae, bibliographic lists, a transcript of a "Yale Reports" radio interview in which Albers discusses art as a port of general education, and a photocopy of a letter from Eugene W. Leake of the Maryland Institute discussing a work by Albers in the Baltimore Museum.

Writings and Lectures are primarily photocopies of poems and typescripts by Albers concerning his theories on art, as well as an sound tape reel recording of Albers delivering a lecture at Yale University. There are also photocopied typescripts about Albers written by others including a typescript "Josef Albers" by Hans Jean Arp.

Printed material primarily consists of clippings and exhibition announcements and catalogs, some of which are annotated by Albers. There are also two exhibition catalogs for Anni Albers, press releases, a copy of poetry publication Origin 8, 2 books by Albers, Embossed Linear Compositions and Josef Albers: Poems and Drawings, the book American Abstract Artists, 1936-1966, and miscellaneous brochures.

Photographs consist of two copies of the same image of Josef Albers pin registering one of his prints with Tamarind artisan Ken Tyler.
Arrangement:
The collection is arranged as 4 series.

Series 1: Biographical Material, 1957-1970 (3 folders; Box 1)

Series 2: Writings and Lecture, 1936-1967 (5 folders; Box 1)

Series 3: Printed Material, 1929-1969 (1.3 linear feet; Boxes 1-3)

Series 4: Photographs, circa 1968 (1 folder; Box 2)
Biographical / Historical:
Josef Albers (1888-1976) of Dessau, Germany, Black Mountain, North Carolina, and New Haven, Connecticut, was a painter, printmaker, and art teacher advocating a disciplined approach to composition, form, and color.

Josef Albers was born on March 19, 1888 in Bottrop, Westphalia, Germany, the only child of Lorenz Albers, a housepainter, and Magdelena (Schumacher) Albers. He attended the Präparanden-Schule in Langenhorst from 1902 to 1905 and then the teachers college in Büren, graduating in 1908. He became an instructor in several Westphalian primary schools.

Albers studied at the Royal Art School in Berlin, the Arts and Crafts School (Folkwang School) in Essen, and at the Art Academy in Munich under Franz Stuck before enrolling at the Bauhaus in Weimar in 1920. In 1923, he became an instructor and in 1925, when the school was transplanted to Dessau, he became a Bauhausmeister, teaching his fundamental design course. He remained in that position in Dessau and Berlin until 1933, when under pressure from National Socialism, the school was shut down. In that year, Albers emigrated to the United States, becoming a professor of painting at Black Mountain College in North Carolina.

In 1949, Albers moved to Yale University where he taught in the Department of Design and served as Chairman of the Art Department. Following his retirement in 1960, Albers continued to live in New Haven with his wife, textile artist Anni Albers.

Albers served as a guest teacher in Ulm, Germany, and in many colleges and art schools in the United States, Mexico, and South America. He was also an author of poems and books concerning art theory.

Josef Albers died on March 25, 1976 in New Haven, Connecticut.
Related Materials:
Also found in the Archives is an oral history interview with Albers conducted by Sevim Fesci in 1968, and a collection of letters from Albers to J. B. Naumann that was loaned to the Archives by the Brooklyn Museum for microfilming and is available on microfilm reel 911.
Provenance:
The Josef Albers papers were donated by the artist in 1969 and 1970. A small collection of additional Albers papers and an audio recording of a lecture with an unknown provenance were integrated.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Josef Albers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching  Search this
Art teachers  Search this
Art -- Philosophy  Search this
Painters  Search this
Printmakers  Search this
Genre/Form:
Photographs
Sound recordings
Transcripts
Poems
Interviews
Citation:
Josef Albers papers, 1929-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.albejose
See more items in:
Josef Albers papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-albejose
Online Media:

Photographs of Dionisio as a Child

Collection Creator:
Dionisio, Humberto, 1950-1987  Search this
Container:
Box 3, Folder 8
Type:
Archival materials
Date:
circa 1950-1954
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Humberto Dionisio papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Humberto Dionisio papers, 1919-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Humberto Dionisio papers
Humberto Dionisio papers / Series 1: Humberto Dionisio Papers / 1.7: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-dionhumb-ref73

Bonne, Suzanne, "Dominic Di Mare the Child Within the Man,"

Collection Creator:
Di Mare, Dominic, 1932-  Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Dominic Di Mare papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Dominic Di Mare papers, 1950-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Dominic Di Mare papers
Dominic Di Mare papers / Series 3: Writings
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-dimadomi-ref31

Lois Dodd papers

Creator:
Dodd, Lois, 1927-  Search this
Interviewer:
Mainardi, Patricia  Search this
Extent:
6.82 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Date:
1945-2013
Summary:
The papers of New York City painter, educator, gallery owner, and activist Lois Dodd date from 1945 to 2013 and measure 6.82 linear feet. The papers focus on Dodd's personal work and contain little documentation of her involvement with Tanager Gallery. Found are biographical materials, including an interview conducted by Pat Mainardi in 1973; personal business records; professional correspondence; project and teaching files for Artist Housing Projects and various teaching positions; scattered writings and notes; printed materials including exhibition catalogs and announcements; and photographs.

The 2014 and 2015 additions date from 1945-2013 and provide additional material related to Dodd's career as a painter and educator. Found here are biographical material; correspondence with friends and artists; writings by others; project and teaching files; personal business records; printed material; photographical material of artwork and Dodd; eleven travel sketchbooks; and a few pieces of artwork by George Schneeman.
Scope and Content Note:
The papers of New York City painter, educator, gallery owner, and activist Lois Dodd date from 1945 to 2013 and measure 6.82 linear feet. The papers focus on Dodd's personal work and contain little documentation of her involvement with Tanager Gallery. Found are biographical materials, including an interview conducted by Pat Mainardi in 1973; personal business records; professional correspondence; project and teaching files for Artist Housing Projects and various teaching positions; scattered writings and notes; printed materials including exhibition catalogs and announcements; and photographs.

The 2014 and 2015 additions date from 1945-2013 and provide additional material related to Dodd's career as a painter and educator. Found here are biographical material; correspondence with friends and artists; writings by others; project and teaching files; personal business records; printed material; photographical material of artwork and Dodd; eleven travel sketchbooks; and a few pieces of artwork by George Schneeman.

Notable correspondents in the collection include Charles Cajori, Dave and Kathy Dewey, Lucien Day, Rackstraw Downes, William King, James L. Lentz, James McGarrell, Zalmar Perlin, Sidney Simon, Paul Smith, and Tom Wesselmann.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Information, 1949-1989 (Box 1; 9 folders)

Series 2: Personal Business Records, 1950-1990 (Box 1; 0.1 linear feet)

Series 3: Correspondence, 1952-1991 (Box 1; 0.7 linear feet)

Series 4: Project and Teaching Files, 1969-1983 (Box 1-2; 0.2 linear feet)

Series 5: Writings and Notes, circa 1970-1990 (Box 2; 5 folders)

Series 6: Printed Material, circa 1970-2001 (Box 2; 0.6 linear feet)

Series 7: Photographs, 1952-circa 1990 (Box 2; 0.3 linear feet)

Series 8: Addition to the Lois Dodd Papers, 1945-2013 (Box 3-8; 4.8 linear feet)
Biographical Note:
Lois Dodd (1927- ) is an observational painter, educator, activist, and co-founder of the Tanager Gallery. She is active in New York City and Maine.

Lois Dodd was born in 1927 in Montclair, New Jersey. Beginning in 1945, Dodd commuted from Montclair to New York City to attend The Cooper Union, from which she graduated in 1948. She married fellow student and sculptor William King with whom she had one child, Eli. King and Dodd, among others, established the Tanager Gallery in 1952.

Dodd worked for various organizations in New York City promoting affordable housing for artists, especially the renewal of Cooper Square. She continues to exhibit her paintings at both individual and group exhibitions.
Related Material:
Among the collections of the Archives of American Art are the Tanager Gallery records, 1952-1972 and an oral history interview with Lois Dodd by Barbara Shikler conducted in 1988.
Provenance:
Lois Dodd donated her papers to the Archives of American Art in several increments between 1981-2007. Dodd donated an additional 4.8 linear feet of material in 2014 and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lois Dodd papers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art teachers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Artists -- Housing -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Political activists -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Genre/Form:
Photographs
Interviews
Citation:
The Lois Dodd papers, 1945-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.doddlois
See more items in:
Lois Dodd papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-doddlois

Thomas Wilmer Dewing and Dewing family papers

Creator:
Dewing, Thomas Wilmer, 1851-1938  Search this
Names:
Dewing, M. O. (Maria Oakey), 1855-1927  Search this
Extent:
0.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1876-1963
bulk 1890-1930
Summary:
The papers of Thomas Wilmer Dewing and the Dewing family measure 0.3 linear feet and date from 1876-1963. Found within the papers are biographical materials on Thomas Dewing; personal correspondence from Dewing, his wife Maria Oakey, and other family members; writings; printed materials; and photographs of Dewing, his family, and his work.
Scope and Contents:
The papers of Thomas Wilmer Dewing and the Dewing family measure 0.3 linear feet and date from 1876-1963. Found within the papers are biographical materials on Thomas Dewing; personal correspondence from Dewing, his wife Maria Oakey, and other family members; writings; printed materials; and photographs of Dewing, his family, and his work.
Arrangement:
The collection is arranged as 1 series:

Series 1: Thomas Wilmer Dewing and Dewing Family Papers, 1876-1963 (0.3 linear feet; Box 1, OV 2)
Biographical / Historical:
Painters Thomas Wilmer Dewing (1851-1938) and Maria Oakey Dewing (1855-1927) lived and worked in New York, N.Y. and Cornish, New Hampshire. A native of Boston, Thomas Dewing began his art studies at the Boston Museum of Fine Arts and traveled to Paris in 1876 to study at the Académie Julian under Gustave Boulanger and Jules Lefebvre. He returned to Boston in 1877 and moved to New York City in 1880 where he met and married his wife, Maria Oakey, in 1881. Known for his tonalist style, Dewing taught at the Art Students League from 1881 to 1888, and was elected to the National Academy of Design in 1888. Dewing was also a member of the Ten American Painters, an exhibiting group that included Childe Hassam and William Merritt Chase. Prominent patrons of his work include the architect Stanford White and the art collectors Charles Lang Freer and John Gellatly.

An artist in her own right, Maria Oakey Dewing began her studies at Cooper Union in 1866 and continued at the National Academy of Fine Arts in 1881. She was also a founding member of the Art Students League and a member of the Society of American Artists. Maria Dewing exhibited works at the National Academy of Design and continued to exhibit still life paintings after her marriage to Dewing, receiving awards at the 1893 Columbian Exposition and the 1901 Pan American Exposition. From 1885 to 1905, the Dewings summered at the artist colony in Cornish, New Hampshire and had one child, Elizabeth Dewing Kaup. Maria died at her home in New York in 1927 and Thomas died in New York in 1938.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1818, 2077, and 2083) including correspondence, writings and diaries, sketchbooks, and photograph albums. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Thomas and Maria Dewing's daughter, Elizabeth Dewing Kaup, donated the papers in separate accessions beginning in 1959. In 1979-1980, ten additional letters were given by Mary Morain, the Dewings' granddaughter, through Susan Hobbs. Material was lent for microfilming by Mrs. Pete A. Gunther in 1980 and by Hugh Franklin in 1981. In 2009, an additional handful of correspondence and photographs were anonymously donated to the Archives.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Thomas Wilmer Dewing and Dewing family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Women artists -- New Hampshire  Search this
Topic:
Painters -- New Hampshire  Search this
Painters -- New York (State) -- New York  Search this
Painting, American -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Thomas Wilmer Dewing and Dewing family papers, 1876-1963, bulk 1890-1930. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dewithom
See more items in:
Thomas Wilmer Dewing and Dewing family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dewithom
Online Media:

Photographs of Sculpture Madonna and Child

Collection Creator:
deCoux, Janet, 1904-1999  Search this
Container:
Box 3, Folder 65
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Janet deCoux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Janet deCoux papers, 1895-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Janet deCoux papers
Janet deCoux papers / Series 8: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-decojane-ref173

Gene Davis papers

Creator:
Davis, Gene, 1920-1985  Search this
Names:
White House (Washington, D.C.)  Search this
Baro, Gene  Search this
Colby, Carl  Search this
Davis, Douglas  Search this
Davis, Florence  Search this
Greenberg, Clement, 1909-1994  Search this
McGowin, Ed, 1938-  Search this
Naifeh, Steven, 1952-  Search this
Nordland, Gerald  Search this
North, Percy, 1945-  Search this
Seitz, William Chapin  Search this
Thomas, Alma  Search this
Wall, Donald  Search this
Extent:
17.7 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Date:
1920-2000
bulk 1942-1990
Summary:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, as well as his career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.
Scope and Contents:
The papers of the artist Gene Davis measure 17.7 linear feet and date from 1920-2000, with the bulk of materials dating from 1942-1990. Papers document Davis's personal life and his career as an artist and educator, and to a lesser degree his early career as a journalist in the 1940s and 1950s, through biographical materials, correspondence, interviews, business records, estate records, writings by and about Gene Davis, printed materials concerning Davis's art career, personal and art-related photographs, and artwork by Davis and others.

Biographical materials include birth and death certificates, awards, biographical narratives by Gene Davis and others, CVs, résumés, personal documents from Davis's family and childhood, documents related to his work as a White House correspondent, documentation related to his death and memorial service, and papers for the family pets. A video documentary about Davis by Carl Colby is found on one videocassette.

Correspondence is mainly of a professional nature, and correspondents include gallery and museum curators, private art collectors, publishers, fellow artists, art educators, academics, and students. Letters document exhibitions, sales, book projects, teaching jobs, visits to studios, local art community events in the Washington, D.C. area, and other projects. Significant correspondents include Gene Baro, Douglas Davis, Clement Greenberg, Gerald Nordland, William Seitz, Alma Thomas, and Donald Wall. Interviews and lectures include sound recordings and transcripts. Many of the interviews were broadcast or published. Also found is a single lecture by Davis given in 1969 at the National Collection of Fine Arts, Smithsonian Institution, entitled "Contemporary Painting." Sound recordings are found for three of the interviews and for the lecture, on 4 sound reels and 1 sound cassette.

Business records include artwork documentation, price lists, sales records, contracts, financial and legal records, gallery and museum files documenting sales and exhibitions, records related to the construction of Davis's home studio in 1970, and a few teaching records. Estate records mainly reflect Florence Davis's efforts to document the works of her husband, and to manage their exhibition, promotion, and sale after his death in April 1985. Estate records include an inventory of artworks, documentation of gifts to museums, correspondence, legal, and financial records. Writings include notes, drafts of essays, artist statements, and articles by Davis, and many articles by others about Davis. Several of Davis's articles reflect specifically on the Washington, D.C. art scene. Also found are drafts of monographs on Davis including one by Donald Wall (1975) and one by Steven Naifeh (1982). Records of Naifeh's book also include photographs of all black and white and color plates from the published book. Among the writings are also notes and research files of Percy North, who worked on an update to Naifeh's 1982 bibliography after Davis's death.

Printed materials include annual reports of museums, published arts-related calendars, auction catalogs, brochures from organizations with which Davis had some affiliation, exhibition announcements and invitations, exhibition catalogs, magazine articles, newspaper clippings, newsletters, posters, press releases, and other published material. Photographs include personal photographs of Gene and Florence Davis and their families, portraits of Gene Davis, photographs of Gene Davis with artworks and working in the studio, Davis' art classes and students, installations of site-specific works, conceptual and video works, exhibition openings, and photographs of artwork, both installed in exhibitions and individually photographed. Found among the photographs are also four videocassettes documenting the Gene Davis retrospective as installed at the Smithsonian National Museum of American Art in 1987.

Artwork includes photographs, drawings, moving images, and documentation of conceptual art. Works by Davis include documentation of the 1969 "Giveaway" with Douglas Davis and Ed McGowin, "The Artist's Fingerprints Except for One which belongs to someone else," documentation of his "Air Displacement" happening, a short film entitled "Patricia," and a video entitled "Video Puzzle." Other moving images include four reels of film of Davis's stripe paintings, and other experiments with motion picture film and photographs.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1930-1987 (0.6 linear feet; Boxes 1, 17)

Series 2: Correspondence, 1943-1990 (1.7 linear feet; Boxes 1-3)

Series 3: Interviews and Lectures, 1964-1983 (0.3 linear feet; Box 3)

Series 4: Business and Estate Records, 1942-1990 (1.6 linear feet; Boxes 3-5, 17, OV 20)

Series 5: Writings, 1944-1990 (2 linear feet; Boxes 5-6, 17, OV 19)

Series 6: Printed Material, 1942-1990 (5.5 linear feet; Boxes 7-11, 17-18, OV 20, FC 35-37)

Series 7: Photographs, 1920-2000 (3.8 linear feet; Boxes 11-15, 17, OV 19)

Series 8: Artwork, 1930-1985 (2.2 linear feet; Boxes 15-16, 18, FC 21-34)
Biographical / Historical:
Gene Davis (1920-1985) was a Washington, D.C.-based artist and educator who worked in a variety of media, including painting, drawing, collage, video, light sculpture, and conceptual art. Davis is best known for his vertical stripe paintings and his association with the Washington Color School.

Davis was born in 1920 in Washington, D.C. and began his career as a writer. In his twenties he wrote pulp stories and worked as a journalist, reporting for United Press International and serving as a White House correspondent for Transradio Press Service during the Truman administration. Later, he worked in public relations for the Automobile Association of America. A self-taught artist, Davis began painting while still working full-time as a writer, influenced by the prevailing abstract expressionist artists of the time, his frequent visits to the Corcoran Gallery and Phillips Collection in Washington, D.C., and by his friend and mentor, Jacob Kainen. His first one-man show was held in the lobby of the Dupont Theater in Washington in 1952. He had a drawing accepted in the Corcoran Area Show in 1953, and won several local art prizes in the 1950s. He began showing work regularly in galleries around Washington, such as the Watkins Gallery at American University, the Gres Gallery, and the Henri Gallery, and had solo exhibitions at Jefferson Place Gallery in 1959 and 1961. Many of the painters who made up what became known as the Washington Color School also showed there, including Kenneth Noland, Howard Mehring, and Sam Gilliam. In 1965, the Washington Gallery of Modern Art held a seminal exhibition entitled Washington Color Painters, which included Davis, Noland, Mehring, Morris Louis, Thomas Downing, and Paul Reed.

Davis began showing outside of Washington regularly in the 1960s, including the Poindexter and Fischbach galleries in New York City, and in several important group shows at museums such as the Museum of Modern Art, the Whitney Museum, and the San Francisco Museum of Modern Art. He had three works shown in the 1964 exhibition Post-Painterly Abstraction, organized by the influential art critic Clement Greenberg at the Los Angeles County Museum of Art. In the late 1960s, he began teaching art classes at the Corcoran School, and spent the summer of 1969 as artist in residence at Skidmore College's "Summer in Experiment" program.

Davis experimented with form continuously throughout his career, including a period of conceptual work in the late 1960s. In 1969 he participated in the "Giveaway," organized by Douglas Davis and Ed McGowin, in which multiple copies of a Davis painting were given away to invited guests in a gesture intended to subvert the art market. Davis also began experimenting with scale, creating a series of tiny paintings he called "Micro-paintings," which were exhibited at Fischbach Gallery in 1968. Around this time he also began working with film and video, recruiting models from his art classes to enact tightly choreographed movement pieces that played with rhythm and interval. Convinced by a lawyer that his videos were a liability without having obtained releases from the models, Davis destroyed all but one of his video works. The surviving video, "Video Puzzle," shows a foreshortened view of a model on the floor of a gallery spelling out a statement by Clement Greenberg at predetermined intervals.

Davis made several large-scale site-specific works using the stripe motif in public places. The first of these was created in the Bal Harbour, Florida, Neiman Marcus department store in 1970. Later works included Franklin's Footpath, executed in the road leading to the Philadelphia Museum of Art in 1972, and Niagara (1979) at ArtPark in Lewistown, NY, promoted at the time as the largest painting in the world. Interior large-scale works were created twice at the Corcoran Gallery, with Magic Circle (1975) and Ferris Wheel (1982), both executed in the museum's rotunda. Black Yo-Yo was created for the Cranbrook Academy in 1980, and Sun Sonata (1983), an illuminated wall of colored liquid-filled tubes, was created as an architectural feature of the Muscarelle Museum of Art in Williamsburg, Virginia. Plans for an unexecuted work called "Grass Painting," for a site near the Kennedy Center in Washington, D.C., were exhibited in the 1974 "Art Now" festival.

In the late 1970s and 1980s Davis consistently exhibited his work in several solo gallery shows a year, and also had numerous solo exhibitions in major museums. A major exhibition, Recent Paintings, was organized by the Walker Art Center in 1978, and traveled to the Corcoran Gallery of Art in 1979. A drawing retrospective was held at the Brooklyn Museum of art in 1983, and the same year the Washington Project for the Arts organized an exhibition entitled Child and Man: A Collaboration, featuring drawings Davis made in response to childrens' drawings. Davis died suddenly in April 1985 at the age of 65, and a major retrospective of his work was held at the Smithsonian National Museum of American Art in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Gene Davis conducted by Estill Curtis Pennington on April 23, 1981. A transcript is available on the Archives of American Art website.
Provenance:
Donated 1981 by Gene Davis and 1986 by his wife, Florence. Additional material donated 1991 and 1993 from Smithsonian American Art Museum via a bequest to them from the Gene and Florence Davis estate. Much of the 1993 addition was assembled by art historian Percy North at the request of Florence Davis. An additional folder of photographs of Davis taken in 1969 but printed in 2000 was later added to the collection.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Reporters and reporting -- Washington (D.C.)  Search this
Video artists -- Washington, D.C.  Search this
Conceptual artists -- Washington, D.C  Search this
Collagists -- Washington, D.C  Search this
Topic:
Color-field painting -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Painting, Modern -- 20th century -- Washington (D.C.)  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sound recordings
Transcripts
Photographs
Interviews
Video recordings
Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.davigene
See more items in:
Gene Davis papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-davigene
Online Media:

Drawings from Child and Man Exhibition

Collection Creator:
Davis, Gene, 1920-1985  Search this
Container:
Box 14, Folder 14
Type:
Archival materials
Date:
1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Gene Davis papers
Gene Davis papers / Series 7: Photographs / Photographs of Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-davigene-ref753

Exhibition Files for Child and Man: A Collaboration

Collection Creator:
Davis, Gene, 1920-1985  Search this
Container:
Box 3
Type:
Archival materials
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Gene Davis papers
Gene Davis papers / Series 4: Business and Estate Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-davigene-ref285

General File

Collection Creator:
Davis, Gene, 1920-1985  Search this
Container:
Box 3, Folder 41
Type:
Archival materials
Date:
1983-1985
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Gene Davis papers
Gene Davis papers / Series 4: Business and Estate Records / Exhibition Files for Child and Man: A Collaboration
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-davigene-ref286

Joslyn Art Museum

Collection Creator:
Davis, Gene, 1920-1985  Search this
Container:
Box 3, Folder 42
Type:
Archival materials
Date:
1984
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Gene Davis papers
Gene Davis papers / Series 4: Business and Estate Records / Exhibition Files for Child and Man: A Collaboration
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-davigene-ref287

Joseph and Mary Muscarelle Museum, College of William and Mary

Collection Creator:
Davis, Gene, 1920-1985  Search this
Container:
Box 3, Folder 43
Type:
Archival materials
Date:
1984
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Collection Rights:
The Gene Davis papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Gene Davis papers, 1920-2000, bulk 1942-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Gene Davis papers
Gene Davis papers / Series 4: Business and Estate Records / Exhibition Files for Child and Man: A Collaboration
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-davigene-ref288

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