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.
The records of the Allan Frumkin Gallery, a Chicago and New York City gallery, measure 25.6 linear feet and date from 1944-2016 with one letter pertaining to artwork documentation dating from 1880. The collection documents the gallery's activities through administrative files, dealer and client correspondence, artist files, financial records, gallery newsletters, printed material, and photographic material. Artist files represent over one-third of the collection and provide insight into the close relationship between Frumkin and many of the gallery's major artists including Robert Arneson, Luis Cruz Azaceta, Jack Beal, Joan Brown, Colin Lanceley, Maryan, Roberto Matta, Philip Pearlstein, Peter Saul, H.C. Westermann, and William T. Wiley. Also included in the collection are the Frumkin Family papers, consisting of writings by Allan and wife Jean Martin Frumkin, editorial copy of Art Book Review, personal papers, and material relating to the Frumkin personal art collection and estate.
The scattered papers of African-American and Harlem Renaissance painter, muralist, illustrator, sculptor, and educator Charles Henry Alston measure 0.9 linear feet and date from 1924-1980. Included are biographical materials, correspondence, commission and teaching files, writings and notes, printed materials, and photographs. Notable correspondents include Romare Bearden, Byron Browne, Jacob Lawrence, and Hale Woodruff.
The records of the American Abstract Artists measure 1.6 linear feet and date from 1936 through 1983. The records document the founding of the organization in 1936, membership activities, general administration, and exhibitions via correspondence, member writings, financial and legal records, printed materials, and photographs.
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
The papers of Thomas Anshutz measure 2.3 linear feet and date from around 1870 to 1942, with the bulk of materials dating from 1880 to 1911. The papers document his education and career as a painter, photographer, and art instructor. The collection is particularly rich in photographs made between approximately 1880 and 1900, when Anshutz and others at the Pennsylvania Academy of the Fine Arts, under the direction of Thomas Eakins (1844-1916), began using photography as an aid in the study of the figure and as studies for paintings. Also found are correspondence, a notebook with scattered sketches, a handful of clippings regarding Anshutz's career, and scattered notes and printed materials.
The records of the Architectural League of New York measure 114.9 linear feet and date from 1880s-1974 (bulk 1927-1968). The League's mission "to advance the art of architecture" is documented through administrative and business records, committee records and officers' files, exhibition files, records of functions and events, correspondence, publicity files, photographs, lantern slides, and 16 scrapbooks.
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 43.9 terabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City from 1975 to 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.