The State of the Arts videorecordings measure 2.4 linear feet and consist of 30 videocassettes (U-matic) and three sets of handwritten notes, all created during the production of a pilot episode for a broadcast television documentary series on contemporary art in 1979. Four stories were produced for the pilot: a staged debate on modern art at the Museum of Modern Art; an investigation into the economics of the contemporary art market, a collaboration between video artist Nam June Paik and sound artist Liz Phillips, and an extended interview with sculptor George Segal on the occasion of his 1979 retrospective exhibition at the Whitney Museum of American Art. Video footage includes raw footage for each segment and edited versions of the economics of art story, the Nam June Paik and Liz Phillips story, and the George Segal story. The reporter and interviewer for the program was Barry Nolan.
The papers of sculptors and close companions Marion Sanford and Cornelia Chapin measure 2.5 linear feet and date from 1929-1988. The papers include scattered materials created by and about both women, including biographical materials, one folder of correspondence for each woman, a few writings and essays, newsclippings, exhibition catalogs, other printed materials, and four scrapbooks (three about Chapin and one about Sanford). Photographs are of Chapin only and of artwork of both women. There is also one phonograph album transferred onto cassette of a radio interview with Chapin and several motion picture films of Chapin's home movies shot in upstate New York and Paris.
Papers of sculptor Patricia Johanson include professional and personal correspondence, 1967-1998; writings on public art, articles, and reviews; a transcript of an interview of Johanson conducted by Jan Evans; a copy of a Master's thesis written on Johanson's sculpture; clippings, exhibition catalogs and announcements; and photographs of Johanson and her work. The collection measures 1.5 linear feet and dates from 1964 to 1998.
The papers of sculptor Beatrice Fenton date from 1836-1984 (bulk 1890-1978) and measure 9.36 linear feet. The collection documents Fenton's career as a sculptor and art instructor, as well as her life-long friendships with artist Emily Clayton and art educator Marjorie Martinet. Found are scattered biographical materials, correspondence primarily with Martinet (approximately 1/2 of the collection), business records, notes and writings, scattered records of arts organizations, transcripts of interviews with Fenton, sketches and sketchbooks, a scrapbook, brochures, clippings, postcards, reproductions of artwork, and photographs of friends and family, travels, and artwork. Writings include several illustrated hand-made books of poetry by Emily Clayton.
The papers of New York City sculptor, painter, educator, and writer Lorrie Goulet (1925- ) measure 10.0 linear feet and date from 1931 to 2009. Goulet's career is documented through biographical materials, correspondence, writings and notes, interviews, exhibition files, project and commission files, teaching files, personal business records, printed materials, photographs, and artwork.
Priscilla Cunningham papers regarding Sue Fuller measure 0.2 linear feet and are dated 1982-2006. The friendship between Cunningham and Fuller and Fuller's sculpture are documented by letters and photographs. Also included is a written version of Fuller's reminiscences of Atelier 17 in New York City that she presented at the Pollock-Krasner House and Study Center in 1993.
The papers of sculptor and environmental artist Aleksandra Kasuba measure 9.9 linear feet and date from 1942-2013, with the bulk of the material from 1960-2000. The collection documents Kasuba's career through biographical material, correspondence, interviews, lectures and writings, extensive project files, printed material, a scrapbook, artwork, and photographs.
The videos and slides on African American folk artists Dilmus Hall, Mary T. Smith, and J.B. Murry measure 0.4 linear feet and date from circa 1984 to 1986. The collection includes recorded interviews conducted by art historian Judith McWillie with the artists about their lives and work, and color slides of Dilmus Hall and Mary T. Smith with their work.
The papers of artist Edna Reindel measure 0.8 linear feet and date from circa 1918-1990. The collection contains biographical material, printed material, artist files and photographs that document Reindel's career and her friendships with Hollywood celebrities, art patrons, and artists.
This record unit consists of audiotaped and videotaped interviews primarily conducted by Alison R. Abelson. In addition to extensive interviews with sculptor Reuben Nakian, the records also include interviews with former curator Jacob Kainen by Joshua C. Taylor, as well as various tapes on other art subjects, some produced by groups outside ...