Scope and Contents
The papers of New York-based curator and art consultant Richard D. Marshall measure 15.8 linear feet and date from 1969-2014. The interviews, exhibitions and research files, client files, other professional files, printed material, photographic material of artwork, and electronic records predominantly reflect Marshall's work outside his role at the Whitney Museum. Sound and video recordings are also found in the collection, primarily with interviews and exhibition and research material.
Thirteen interviews with artists are in the form of transcripts and sound recordings. Interviews are with many artists that Marshall had organized exhibitions for, including Louise Bourgeois, Robert Mapplethorpe, Ed Ruscha, and many featured in the exhibition New Image Painting at the Whitney in 1978.
Exhibition and research files may contain correspondence with artists, galleries, and museums; writings and notes; printed and research material; press packages; photographic material; and administrative documentation related to exhibition logistics, such as floors plans, items lists, consignment records, and shipping receipts. The most robust files and groups of files relate to the artists that Marshall worked with repeatedly over the course of his career, including Jean-Michel Basquiat, Alexander Calder, Robert Mapplethorpe, Joan Mitchell, Georgia O'Keeffe, Jack Pierson, and Ed Ruscha. Files relating to the Lever House Art Collection are also found here. The series contains sound and video recordings, as well as electronic records containing broadcasts, documentaries, exhibition related material, writings, photographic material, and promotional material about artists from galleries.
Client files include correspondence, invoices, photographic material, floor plans, electronic records, and other documentation related to Marshall's business as an independent art consultant.
Other professional files consists of business cards, Museum of Contemporary Art San Diego (MCASD) Board of Trustee's files, and photographic material Marshall accumulated as art editor of the Paris Review.
Printed material consists of books, exhibition announcements, catalogs, press packages, posters, and other material. Material relates to artists and movements Marshall was interested in.
Photographic material is of artworks and is largely unsorted and not identified with any specific project. Formats include black and white photographs, slides, and transparencies.
Unidentified electronic records are arranged in the last series of the collection. Content has not yet been identified and existing labeling is insufficient for description.