The papers of Burt Chernow measure 21.8 linear feet and consist mainly of research materials gathered and produced in the course of writing Christo and Jeanne-Claude: A Biography over an extensive period of close contact with the subjects, from the early 1980s until Chernow's death in 1997. Research materials for the biography include photocopies of personal documents of the Christos, hundreds of recorded interviews with Christo, Jeanne-Claude, their family members, and their associates, transcripts of interviews and research on interview subjects, other collected research material compiled chronologically, drafts of the biography written by Chernow, drafts of the biography and its epilogue produced after Chernow's death, and business records related to the book's production, which include significant correspondence with the Christos. Also found are the published German and U.S. editions of the biography, printed materials and photographs related to the book's subject matter, and fabric samples from five of the Christos' projects undertaken during Chernow's association with them. Chernow's career as an art critic, writer, educator, and arts advocate, primarily in Southern Connecticut, is documented in Chernow's other writings, organizational records, printed materials, and photographs.
The papers of painter and sculptor Edward Arcenio Chavez measure 0.9 linear feet and date from 1917 to 1982 with the bulk of the material dating from 1941 to 1973. The collection is comprised of biographical material, personal business records related to the Federal Works Agency and other projects, printed materials, and photographic materials.
The records of Chaloner Prize Foundation measure 4.0 linear feet and date from 1915 to 1974. The records consist of the files of the two Secretaries, George F. Lewis and S. LeRoy French, and four of the Trustees, Charles Platt, William Rand, Olin Dows, and William Platt. Included within these records are correspondence, lists, files on award recipients, and three scrapbooks maintained by Dows. Also found within the collection are legal records, printed material, and financial records.
The papers of African American painter, printmaker, and sculptor Elizabeth Catlett measure 0.3 linear feet and date from 1957 to 1980. The collection consists of printed material, such as project-related press; exhibition announcements, catalogs, and posters; publications featuring articles about Catlett; clippings; and cards featuring reproductions of Catlett's work.
The records of Carus Gallery measure 3.2 linear feet and date from 1967-2002. This collection documents Dorothea Carus Isserstedt's management of the New York gallery through a small amount of business and personal correspondence; business records regarding acquisitions, sales, and consignments; intentories of artwork and rare books; exhibition catalogs, press clippings, and other printed material; and photographs depicting artwork and exhibition installations.
The printed materials of artist Rimer Cardillo measure 0.4 linear feet and date from 1985 to 2012. The collection is comprised of clippings including reviews of the exhibition Revelaciones / Revelations: Hispanic Art of Evanescence, exhibition announcements and catalogs, and newsletters relating to Cardillo's career as a printmaker and graphic artist.
Margarita Cano's papers measure 0.2 linear feet and date from 1983-1985. The collection primarily concerns the 1983 exhibition The Miami Generation, 9 Cuban-American Artists, an exhibition organized by The Cuban Museum of Art in Culture in cooperation with the Miami-Dade Public Library System and for which Cano served as Project Director. Curated by Guilio V. Blanc, the exhibition included work by Mario Bencomo, Maria Brito-Avellana, Humberto Calzada, Pablo Cano, Emilio Falero, Fernando Garcia, Juan Gonzalez, Carlos Macia, and Cesar Trasobares. The exhibition traveled to Meridian House International in Washington, DC and later to Philadelphia at the Balch Institute for Ethnic Studies in 1985. Found are two files of correspondence, exhibition planning and publicity files, a catalog, checklist, and photocopied news clippings. Most of the documents are photocopies. There is also one folder of slides and photographs of works of art in the exhibition.
The California Art Club guest register and scrapbooks measure 1.5 linear feet and date from 1916 to 1961. Included are guest registers spanning 1927 to 1931; a Year Book 1916 of the California Art Club containing images of member artwork and essays; and eleven scrapbooks with clippings, exhibition materials, club bulletins, and place settings.
The papers or curator and writer John Caldwell measure 1.7 linear feet and date circa 1909 to 1996. The collection documents Caldwell's life and career through a variety of materials, such as biographical material including legal papers relating to the Caldwell Estate, letters from friends and colleagues, writings by Caldwell such as a draft version of a speech and draft essays, printed material including articles written by Caldwell for the New York Times, photographs of Caldwell, family members, dealers, donors, and artists, as well as a video recording documenting the 1985 Carnegie International.
The papers of abstract kinetic artist and sculptor Alexander Calder measure 2.5 linear feet and date from 1926 to 1967. Found within the papers are scattered biographical materials, correspondence, printed materials, photographs, scattered prints and sketches by Calder, and a scrapbook. Of particular interest are the numerous photographs of Calder, including many of Calder at work in his studios, with his family at their home in Touraine, France, exhibitions, and artwork. Among the photographs are several taken by photographer and artist Herbert Matter and a photograph of Pierre Matisse at Calder's home.