Milet Andrejevic Analysis Essay

Milet Andrejevic, an artist and teacher whose work is in the permanent collections of the Metropolitan Museum of Art and the Whitney Museum of American Art, died of lung cancer Friday night at his home on the Upper West Side of Manhattan. He was 64 years old.

Mr. Andrejevic, a native of Yugoslavia who became an American citizen in 1961, is also represented in the collections of several other museums and galleries. In 1976, he received a grant from the National Endowment for the Arts.

In a review of a one-man exhibition at the Robert Schoelkopf Gallery in Manhattan in 1981, Hilton Kramer, a critic for The New York Times, described Mr. Andrejevic as ''clearly one of the most gifted painters of the contemporary Realist school.''

Mr. Andrejevic taught painting at the New York Academy of Art since 1985. He previously taught at Brooklyn College and New York University.

He is survived by his wife, Helen Bardeen Andrejevic, and a son, Mark. A memorial service at the New York Academy of Art will be held at a date to be announced.

Continue reading the main story

Richard Bellamy Papers

in The Museum of Modern Art Archives

The Museum of Modern Art Archives
11 West 53 Street
New York, NY 10019-5497
© 2007
The Museum of Modern Art Museum Archives
Finding aid prepared by Jonathan Lill, 2007.

Overview of the Collection

Creator: Bellamy, Richard
Title: Richard Bellamy Papers
Inclusive Dates: 1950-1999
Quantity: 30.5 Linear Feet
67 5" manuscript boxes, 2 2.5" manuscript boxes, 1 5x10" cassette box, 1 12x18" flat box
Abstract: Professional papers of Richard Bellamy, art dealer, gallery owner, friend and patron of artists and the art world. The papers particularly contain records of the Hansa Gallery, the Green Gallery, the Oil & Steel Gallery, and material relating to the artists Mark di Suvero and Alfred Leslie, as well as many others.

Biographical Note

Richard Hu Townley Bellamy was born in Cincinnati, December 3, 1927, the son of doctors. At the age of 21, after dropping out of college, he moved to Provincetown, Massachusetts. There, while working at various jobs including selling antiques and house painting, he became friends with numerous artists of the Hans Hofmann school.

Bellamy moved to New York in the early 1950s and continued his association with the Hofmann students, a group of whom opened the Hansa Gallery in 1952. Originally located on East 12th Street, Hansa was one of the first cooperative galleries in New York and one of many spaces devoted to displaying works of young artists attempting to define themselves apart from Abstract Expressionism, then the dominant style and the focus of major uptown galleries. By 1955, Bellamy was named director of the Hansa, the gallery had relocated to 210 Central Park South, and it was attracting significant attention from art world figures such as Hans Richter, Clement Greenberg, and Meyer Shapiro. The gallery's members included Jan Müller, Richard Stankiewicz, Allan Kaprow (who staged some of his first environments there), Miles Forst, Wolf Kahn, Jane Wilson, and others, and it held exhibitions of works by Alfred Leslie, John Chamberlain, George Segal, Myron Stout, and Lucas Samaras. Despite the eventual critical and commercial success of many of these artists, the Hansa was never financially viable and it closed in 1959.

In 1960, with the unpublicized financial backing of Robert Scull, Bellamy opened the Green Gallery on West 57th Street. He selected and represented new and emerging artists providing first or second exhibitions for James Rosenquist, Claes Oldenburg, George Segal, Larry Poons, Robert Morris, Lucas Samaras, Donald Judd, Tom Wesselmann, Milet Andrejevic, and Dan Flavin. For a few years, the Green Gallery was considered the center of groundbreaking work in the New York art world, yet in 1964 Robert Scull withdrew his support and in 1965 the gallery closed.

From 1965 until 1974, Bellamy maintained a small office at the Noah Goldowsky Gallery where he acted as a private dealer but also organized shows in the gallery and shared many operational duties with Goldowsky. Between 1974 and 1980 he lived in and worked from a private gallery at 25th Street and Park Avenue. Finally, in 1980, Bellamy opened the Oil & Steel Gallery at 157 Chambers Street, though in 1985 the gallery moved to 30-40 Vernon Boulevard alongside the studios of Mark di Suvero and Alfred Leslie. The Oil & Steel Gallery focused on artists Bellamy had supported or been friends with for decades. They included Richard Nonas, Myron Stout, Neil Williams, David Rabinowitch, Peter Young, Walter de Maria, Michael Heizer, Miles Forst, and many others. Most prominent among these artists were Alfred Leslie and Mark di Suvero. In collaboration with the Barbara Flynn, Bellamy organized four major retrospective shows of Leslie's work at the Flynn Gallery between 1991 and 1992 and, over numerous decades, organized the sale, consignment, and loan of Leslie's works. Bellamy's relationship with Mark di Suvero was equally long standing, having spanned thirty-five years. Bellamy is credited with helping revive di Suvero's reputation in New York beginning with an exhibition held at Oil & Steel in 1983. In the 1990s, Bellamy began to devote most of his time to arranging large shows of di Suvero's work in Venice, Paris, and elsewhere in Europe, and also helped arrange di Suvero's joint representation by the Gagosian Gallery beginning in 1993. At the time of his death he was also involved in compiling a catalogue raisonné of di Suvero's work.

Bellamy was an enthusiastic photographer, notable for his sensitive and illuminating images of sculpture. An exhibition of his photographs of di Suvero sculpture was held at Storm King Art Center in 2006. He was also a founding member, in 1971, of P.S.1 Contemporary Art Center in Long Island City, New York, and served on advisory boards of numerous other organizations. Apart from his friendships with artists, Bellamy developed close relationships with the collectors and patrons Virginia Wright and Robert Scull, and numerous museum curators and directors and gallery owners. He is remembered by his extensive community of friends, artists, and by the New York art world, as a tireless correspondent, visionary, booster, and all around supporter of the arts. Richard Bellamy died in his sleep on Sunday, March 29, 1998, at the age of seventy.

A note on names: Close friends sometimes called Richard Bellamy "George," a nickname bestowed on him by his father (referred to in this scheme as "Lenny.") Not only does some correspondence carry the appellation, but Bellamy also used the name for credits of his photography (sometimes even using foreign versions of the name for publication in other countries). This should not be confused with occasional photographs credited to Peter Bellamy, a noted photographer of no relation to Richard.

Much of the above material was taken from various published obituaries as well as a biographical statement prepared by Miles Bellamy for Roberta Smith of The New York Times. See Series IV for those materials.

Scope and Content Note

The Richard Bellamy Papers document nearly fifty years of activity in the life of a noted connoisseur, gallerist, private dealer, and friend and supporter of the arts. Through correspondence, invoices, expense documents, lists of works, consignment and loan agreements, installation diagrams, photographs, announcements and other ephemera, news clippings, articles, and interviews, the papers provide a detailed portrait of Bellamy and the careers of his most prominent artists and friends, and display an intimate look at the actual mechanisms and activities of galleries and art dealing over four decades. The collection is organized into four major series with additional subdivisions.

Series I: Correspondence, is organized into two subseries. Subseries I.A consists of nearly four decades of sent and received correspondence organized alphabetically by personal or institutional name. The bulk of the material begins in the early 1970s when Bellamy maintained an office at the Noah Goldowsky Gallery, continues through his years on Park Avenue, through the establishment and relocation of the Oil & Steel Gallery, and ends in the weeks before his untimely death. The correspondence deals mostly with business matters and displays Bellamy's tireless promotion of different artists. The series details the arrangements he made to stage exhibitions, manage consignments and loans, and organize the installation of major pieces of sculpture in distant locations. A large portion of the correspondence relates to Bellamy's work on behalf of Mark di Suvero though his efforts for other artists are also represented. Subseries I.B is a duplicate set of outgoing correspondence organized by year.

Series II: Business Records, is divided into five subseries. Subseries I.A focuses on the Hansa Gallery. The folders here contain key early documents of the gallery, exhibition announcements, the transcript of the oral history of the Hansa Gallery conducted by Richard Brown Baker for the Archives of American Art, and documents of a later exhibition on the gallery. Subseries II.B, records of the Green Gallery, contain important material detailing sales of works by numerous artists, disbursements and expenses for them, news clippings and reviews, and an extensive collection of elaborately designed and printed posters and announcements for numerous groundbreaking exhibitions. Subseries II.C documents the years Bellamy shared space with the Noah Goldowsky Gallery. The series contains ledgers, check stubs, records of sales, purchases, expenditures and other financial documents. Subseries II.D chronicles the history of the Oil & Steel Gallery as well as detailing activities in the years 1975-1980. Oil & Steel was the first time in fifteen years Bellamy ran a gallery with public exhibitions and a full-time staff. These records attest to the energy and organization required to manage such an operation as the subseries contains extensive financial documentation including payroll and expense records, ledgers, receipts, credit card and bank account reports, and invoices and records of sales and purchases. The subseries also contains records of exhibitions including price lists, announcements, press, photographs, advertisements, and a guestbook. Subseries II.E constitutes a discrete set of materials relating to the settlement of the Robert C. Scull estate after Scull's passing, in 1986. Bellamy aided the estate's lawyers in reappraising Scull's art collection (sold in 1986 to record-setting prices) after the IRS questioned the pre-auction appraisal upon which estate taxes were assessed. Robert Scull's ex-wife, Ethel Scull, also sued to gain possession of a greater portion of the estate and Bellamy provided testimony and evidence to the early years of the Sculls' joint activities in the art world. The records here record the labyrinthine path of Bellamy's involvement in these legal affairs.

Series III comprises materials of and about specific artists generated, collected, and compiled by Bellamy over his career. Subseries III.A is devoted to artists Bellamy was less involved with professionally, never represented (or only in the distant past), or had only incidentally come into contact with. Most artists here are represented by one folder each and the contents include numerous slides and photographs of work, some correspondence, biographical material and curricula vitae, exhibition ephemera, and news clippings. Subseries III.B through III.P comprise files of artists Bellamy directly represented or had closer relationships to, especially during the existence of the Oil & Steel Gallery. The largest groups of records here are concerned with Mark di Suvero and Alfred Leslie. Subseries III.N, the Mark di Suvero files, document and depict Bellamy's work curating exhibitions, aiding the organization of domestic and foreign installations and purchases of di Suvero's work, and abetting the growth of his reputation and dissemination of his output. There is abundant correspondence, receipts, invoices, expense records, photographic documentation, exhibition announcements, advertisements, press, and other documentation located in these files. They present a vivid picture of the relationship between Bellamy and di Suvero and a testament to the impact of Bellamy's role in di Suvero's career. Likewise, the files of Alfred Leslie, Subseries III.G, provide a detailed view of Bellamy's involvement in Leslie's career. In particular, Bellamy formally collaborated with Barbara Flynn and the Flynn Gallery in staging major retrospective shows of Leslie's work in the years 1991 and 1992. The substantive portion of this subseries is actually composed of files created and maintained by the Flynn Gallery but Bellamy's joint role in the exhibitions is clear. The extensive photographic documentation of works from Leslie's entire career as a painter and draftsman amount practically to a catalogue raisonné. Additionally, there is a wealth of documentation of other exhibitions held at Oil & Steel, correspondence, invoices and other financial material. The other subseries devoted to individual artists are smaller in size but likewise document exhibitions Bellamy staged of their work, his personal and professional history with them, and in some cases, his close personal relationship. Subseries III.M, Myron Stout, contains fourteen audio cassettes of Stout recounting his life and career in interviews with Kathryn Maartens. Subseries III.B, III.F, III.H, III.L, III.M, concerning Joan Baer, Michael Heizer, Walter de Maria, David Rabinowitch, and Myron Stout, all contain correspondence testifying to the strength of the friendship the artists had with Bellamy and revealing details of their works and careers. These and other files contain numerous photographs and negatives documenting the artists' work. The files of Neil Williams, Subseries III.O, contain negatives and contact sheets comprising nearly three thousand images taken by Williams and documenting his travels, his friendships, and the artworks by himself and others, particularly John Chamberlain. Overall the artist files are a wealth of information not only on the artists but on Bellamy's deep and lasting relationships with them.

Series IV contains a small amount of material accumulated after Bellamy's death in 1998. In addition to biographical materials assembled for authors of obituaries, and copies of the obituaries and memorials themselves, the series contains a large amount of correspondence sent in condolence to Miles Bellamy and video recordings of two memorial services: one held at Oil & Steel on April 1st (only three days after Bellamy's death), and the other held at P.S.1 on May 13th. In November 1998 a public reading of bellamy's correspondence was staged and an audio cassette and program of that event are present This series provides condensed tribute to the personal and professional accomplishments of Bellamy's life, and invokes and testifies to those labors which the Richard Bellamy Papers so extensively describe.

Finally, Series V comprises correspondence between Bellamy and noted collector Adam Aronson. Aronson bought numerous works from the Green Gallery and the first correspondence here dates from 1963. The professional relationship and friendship lasted until Bellamy's death. Included here are original letters from Bellamy to Aronson, copies of sent letters by Aronson, occasional third party correspondence, and scattered invoices and financial records. This series was received from Adam Aronson in 2000.


Access Restrictions

The records are open for research and contain no restricted materials.

Ownership and Literary Rights

The Richard Bellamy Papers are the physical property of The Museum of Modern Art. Literary rights, including copyright belong to the authors or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with The Museum of Modern Art. For further information, and to obtain permission to publish or reproduce, contact the Museum Archivist.

Index Terms

This collection is indexed under the following headings in DADABASE, the library catalog of The Museum of Modern Art. Researchers desiring materials about related topics, persons, or places should search the catalog using these headings.
Persons and Organizations:
Aronson, Adam
Art dealers -- New York (State) -- New York -- History -- 20th century -- Biography -- Sources.
Art, American -- New York (State) -- New York -- History -- 20th century -- Sources.
Bellamy, Miles
Di Suvero, Mark, 1933-
Flynn (Gallery) -- Archives.
Flynn, Barbara
Green Gallery (New York, N.Y.) -- Archives.
Hansa Gallery -- Archives.
Leslie, Alfred, 1927-
Oil and Steel Gallery -- Archives.
Art dealers -- New York (State) -- New York -- History -- 20th century -- Biography -- Sources.
Art, American -- New York (State) -- New York -- History -- 20th century -- Sources.
Di Suvero, Mark, 1933-
Flynn (Gallery) -- Archives.
Green Gallery (New York, N.Y.) -- Archives.
Hansa Gallery -- Archives.
Leslie, Alfred, 1927-
Oil and Steel Gallery -- Archives.
Document Types:
Business records.
Personal papers

Related Collections at MoMA and Elsewhere

Within the Museum Archives, scattered materials relating to Richard Bellamy, the Green Gallery, and Robert Scull can be found in Collectors Records, Art Lending Service/Art Advisory Service Records, the Alfred H. Barr Papers, and the James Lee Byars - Dorothy C. Miller Correspondence.

Catalogs to many of the exhibitions documented here are located in the Museum Library. The library's subject and pamphlet files contain exhibition announcements and ephemera for the Green Gallery, the Oil & Steel Gallery, and other institutions; the library's artist files contain folders on Richard Bellamy and most of the artists he befriended and represented.

In the 1960s, Richard Brown Baker conducted interviews with Richard Bellamy and Richard Stankiewicz for the Archives of American Art to document the history of the Hansa Gallery; those transcripts are accessible online. The Archives of American Art also contains interviews with Robert Scull and oral histories or records of many of the artists mentioned in this collection, including the Alfred Leslie Papers and the Mark di Suvero and di Suvero Family Papers.

In 2016 Richard Bellamy's son Miles launched the website to provide information about his father and promote his legacy.

Administrative Information


The Richard Bellamy Papers were acquired by the Museum Archives from Richard Bellamy's son, Miles Bellamy, in November, 2000. Series V, Adam Aronson Correspondence, was given to the museum in 2000 by Aronson to complement the main collection.

Preferred Citation

Published citations should take the following form:

Long version: Richard Bellamy Papers, [series.folder]. The Museum of Modern Art Archives, New York.

Short version: Bellamy, [series.folder]. MoMA Archives, NY.

Processing and Condition Information

The processing of the Richard Bellamy Papers was funded by a generous grant from The Henry Luce Foundation.

The bulk of the collection dates only from the last forty years so the materials are generally in good condition. All materials have been rehoused in archival folders; news clippings and acidic printed material has been photocopied and discarded. Other acidic materials have been encapsulated or isolated by acid-free paper or Mylar as occasion warranted. Because so many of the materials in the collection originate from the 1980s and 1990s, there was a large quantity of thermofax paper in numerous folders. Due to thermofax instability and image impermanence, all such items were photocopied and discarded except in those few instances where handwritten notes and information dictated the retention of the original documents.


Series V, Adam Aronson Correspondence, was given to the museum in 2000. In 2007, Miles Bellamy gave eight additional folders of material to the Museum. These folders contain early records and founding documents of the Hansa Gallery, materials relating to Green Gallery exhibitions, and news clipping and other records of Miles Forst's career. Evidence indicates these materials were likely kept by Miles Forst and given to Richard Bellamy at a later date. The materials have been placed in the relevant series with notes made as to their specific provenance.

Additional Descriptive Data

Explanation of Abbreviations

RB is Richard Bellamy.
MdS is Mark di Suvero.
ALS is an Autographed Letter Signed.
TLS is a Typed Letter Signed.
TL stands for Typed Letter.
MoMA is The Museum of Modern Art.
n.d. stands for no date.
re: stands for regarding.

Container List

Series I: Correspondence 1962-1998

Richard Bellamy was a tireless, prolific, and notable correspondent. In November, 1998, a posthumous reading of his correspondence was staged at The New School in New York City, a tribute to his epistolary élan. While the bulk of correspondence in series I is concerned solely with professional and business matters, Bellamy's style, wit, and personality are readily evident. The correspondence also displays the unflagging effort Bellamy undertook to promote artists, organize exhibitions, sell and gain commissions for artworks, and overall to maintain contact with innumerable collectors, curators, institutional directors and anyone who might at that moment or in the future have an interest in supporting the artists Bellamy represented. Much of the correspondence, in fact, contains little more than polite greetings or reminders of exhibitions, friendly letters accompanying complimentary exhibition catalogs and equally polite responses to those gifts. The more substantive correspondence deals with gallery consignments and loans, negotiating commission rates and major sales, directing the shipping, assembly, and installation of large sculptures in foreign countries, and dealing with all other aspects of running a gallery. Correspondence dates from the early 1970s until March 1998. A small quantity of earlier correspondence does exist here: a packet of letters sent to Virginia Wright in the 1960s testifies to the length of their close relationship. The predominant portion of the correspondence, though, originates from the 1980s and 1990s and concerns the activities of the Oil & Steel Gallery. Among that material, a majority concerns Bellamy's representation of Mark di Suvero.

Subseries I.A consists of folders arranged and originally labeled alphabetically by recipient. Individual folders with one name on the label often contain correspondence from multiple individuals with occasional carbon copies of correspondence between other people, but all materials in one folder usually relate to a single institution or project. Subseries I.B consists of "duplicate correspondence" arranged chronologically. Miles Bellamy joined his father at the Oil & Steel Gallery in 1993 and many letters by him concerning gallery business are present. During many of the years Oil & Steel was in operation, Jeannie Blake was the main office assistant; her name appears frequently as well.

For further correspondence relating to specific galleries or artists, see the appropriate files of Series II and III. Series V contains numerous correspondence between Bellamy and Adam Aronson poredating most of the correspondence here.

Subseries I.A: Alphabetical Correspondence 1962-1998

Folders in this series may contain numerous items, but a large quantity of the folders contain as few as one item. Folders with one item only will have a specific, single date indicated. Other folders, however, may have only two or three items spanning a number of years. Researchers are cautioned not to presume the existence of a large quantity of material for any particular correspondent, nor that the material present is of any particular significance. Some materials, or letters from siginificant individuals not mentioned in the folder title, have been noted underneath their folder titles. Names abbreviated on the original folders are given complete here and any inconsistencies in alphabetization have been corrected. Folders have been replaced on a one-to-one correspondence whenever possible.

FolderTitle Date
I.A.1Abrams Original Editions4/4/1979
I.A.2Achenbach Art Consulting

Extensive correspondence discussing a competition and purchase of Borealis by MdS.

I.A.3Adirondack Community College1994
I.A.4Abe Adler, Adler Gallery1977-1978
I.A.5Albright-Knox Art Gallery1975-1989
I.A.6William H. Alexander8/15/1990
I.A.7Nancy C. Allen1995
I.A.8Amnesty International1991
I.A.9David Anderson Gallery1991-1998
I.A.10Harry W. "Hunk" Anderson1976-1994
I.A.11Wayne Anderson4/17/1986
I.A.12Paule Anglim1978-1991
I.A.13The University of Arizona1979-1982
I.A.14Arkansas Arts Center1995
I.A.15Tom Armstrong7/17/1996
I.A.16Adam Aronson

Large quantity of sent and received correspondence with the art collector.

I.A.17Art dealers Association of America1992
I.A.18Art in America1991-1998
I.A.19Staatliche Kunsthalle Baden Baden1992-1993
I.A.20Richard Brown Baker1958-1966
I.A.21Ball State University, Muncie, Indiana1985-1996
I.A.22The Baltimore Museum of Art and City of Baltimore

Includes numerous correspondence, receipts and invoices (including receipts for material from U.S. Steel) concerning the purchase of an MdS sculpture by the City of Baltimore.

I.A.23Barcelona, Fundacio Antoni Tàpies1988-1992
I.A.24Walter Bareis1989-1992
I.A.25Erik Barkan6/19/1986
I.A.26Sid Bass1982-1986
I.A.27Battery Park City Authority, Sydney Druckman1988-1989
I.A.28Eduard Beaucamp10/13/1997
I.A.29Thomas and Cristina Bechtler

Correspondence regarding the purchase of seven drawings by Walter De Maria from the estate of Robert C. Scull.

I.A.30Edna Bendel1980
I.A.31Helen Benjamin2/16/1978
I.A.32Thomas Bergern.d.
I.A.33University of California, Berkeley1/4/1970
I.A.34Barry Berkus12/18/1990
I.A.35Berlin, Nationalgalerie

Includes 22 color snapshot photographs of German architecture exhibition posters; 8 35mm color negatives of site photographs of works by MdS; 16 color slides of the Nationalgalerie and museum grounds.

ca. 1993
I.A.36Berlin, Nationalgalerie

Includes 1 ALS MdS-Dr. Dieter Honisch (Director of the Nationalgalerie) n.d. [unsent; vituperative attack on Honisch's lack of interest in MdS' work.]

I.A.38André Bernheim1991-1997
I.A.39Edna Beron1996
I.A.40Patrizio Bertelli1996-1998
I.A.41Sidney Bestoff1981-1983
I.A.42"Beverly Hillbillies"

Actual correspondent is Joan Selwyn, of Beverly Hills.

I.A.43Ernst Beyeler, Galerie Beyeler1980

Correspondence and materials related to the exhibition, Bilderstreit: Contradiction, Unity and Fragmentation in Art Since 1960, Cologne, 1989.

I.A.45Birmingham Museum of Art, Alabama1987-1995
I.A.46Peter Blum4/26/1991
I.A.47Frank Bordas: Lithographs, Paris1991-1996
I.A.48Frank Born, San Francisco7/16/1991
I.A.49Museum of Fine Arts, Boston1986-1996
I.A.50University of Massachusetts, Boston1996
I.A.51Frances Bowes2/2/1994
I.A.52Museum Boymans-van Beuningen1988-1989
I.A.53Bradley Sculpture Garden1989-1993
I.A.54Norman Braman1997-1998
I.A.55Sandra Brant5/13/1997
I.A.56Brazil, Museu Brasileiro Da Escultura1995-1996
I.A.57Bremen, Neues Museum Weserberg

Includes 7 black and white photographs of possible Bremen site for MdS sculpture.

I.A.59Broad Foundation1995
I.A.60Edward Broida1984-1994
I.A.61The Brooklyn Museum1993-1994
I.A.62Brown University1985
I.A.63Bruce Museum, Hollister Sturges1996
I.A.64Bryant Park1994-1995
I.A.65Ernst Busch Galerie, Cologne2/11/1992
I.A.66C&M Arts1995
I.A.67Lewis Cabot1976-1977
I.A.68Calder Foundation1/26/1998
I.A.69California Institute of Technology, Baxter Art Gallery7/20/1978
I.A.70Cambridge Seven Associates, Inc.1979
I.A.71Canada, Musée d'art contemporain de Montreal1998
I.A.72Giovanni Caradente1/10/1990
I.A.73Catherine and David Cardon1995
I.A.74Museum of Art, Carnegie Institute1975-1986
I.A.75Carnegie International9/6/1994
I.A.76Susan Carney

Includes 6 color Polaroid images and two 11x11" color prints of four images each showing possible sites for a MdS sculpture in houses owned by a "Mr. Bernstein." in Hollywood.

I.A.77Charles Carpenter8/22/1990
I.A.78Norman Champ7/21/1987
I.A.79Mrs. Howard W. Cheel1989
I.A.80Wendell Cherry1988-1989
I.A.81Jay Chiat11/12/1996
I.A.82The Art Institute of Chicago1982-1996
I.A.83City of Chicago1998
I.A.86Cincinnati Art Museum1983-1996
I.A.87Citibank Art Advisory Service1990-1997
I.A.88Clark University1977
I.A.89The Cleveland Museum of Art1973-1997
I.A.90Maurice Cohen1985-1996
I.A.92Columbus Museum of Art1989-1997
I.A.93University of Connecticut at Waterbury1987
I.A.95Lynne Cooke1988-1991
I.A.96Gene Corman1985-1986
I.A.97Herbert H. Johnson Museum of Art, Cornell University1985
I.A.98Art Museum of South Texas, Corpus Christie1977-1979
I.A.99Donald Cox1984-1996
I.A.100Douglas Cramer1988-1990
I.A.101Cranbrook Educational Community1976
I.A.102Galerie Heike Curtze1992-1993
I.A.104Dallas Museum of Art

[Original folder title: "di Suvero-Dallas"].

I.A.105Mr. and Mrs. Werner Dannheiser9/30/1986
I.A.106Mr. and Mrs. Julius Davis1977
I.A.107Kenneth and Judy Davis1985-1996
I.A.108Christophe and Dominique de Menil1986-1998
I.A.109E.L.L. de Wilde

De Wilde was at this time director of the Stedelijk Museum, Amsterdam.

I.A.110A.M. Debré2/28/1997
I.A.111DeCordova and Dana Museum and Park1986-1990
I.A.112Jeffrey Deitch1997-198
I.A.113Suzanne Delehanty9/11/1996
I.A.114The Denver Art Museum1995-1997
I.A.115Jerome Dersh1988-1989
I.A.116Des Moines Art Center1979-1996
I.A.117James DeSilva1987
I.A.118The Detroit Institute of Arts1987-1996
I.A.119Rene and Veronica di Rosa Foundation9/16/1996
I.A.120Dia Art Foundation1986-1987
I.A.121Carl Djerassi1995
I.A.122Junia Doane7/26/1996
I.A.123The Duke University Museum of Art4/13/1987
I.A.124J. Robert Duncan1992-1997
I.A.125Düsseldorf, Germany

Correspondence with Kunstsammlung Nordrhein-Westfalen and Landeshauptstadt Düsseldorf Der Oberstadtdirektor.

I.A.126Virginia Dwan1990-1994
I.A.127Barney Ebsworth1982-1990
I.A.128Gilbert Edelson, Art Dealers Association of America12/23/1996
I.A.129Stefan Edlis1992
I.A.130The Edmonton Art Gallery1973-1974
I.A.131Joel Ehrenkranz9/23/1996
I.A.132Mandy and Cliff Einstein1990-1996
I.A.133Elvehjem Museum of Art, University of Wisconsin-Madison1989-1996
I.A.134André Emmerich Gallery1990-1994

Correspondence with Sustrans, Consett & Sunderland, of England, concerning MdS artwork for a railway converted to a bike path. Includes nine 7x10" color photographs and other images of site. Correspondence with other English entities also present.

I.A.136Tom Epstein1994-1995

Site plan for landscaping around the Tribune Tower in Chicago.

I.A.138Joachim (Kim) Esteve/Brazil1989-1993
I.A.139Everson Museum of Art, Syracuse, NY1987

No last name indicated.

I.A.141Richard L. Feigan & Co.1986-1997
I.A.142Doris and Donald Fisher1985-1996
I.A.143Florida International University Art Museum/Dahlia Morgan2/10/1997
I.A.144Marie and Arnold Forde1986-1988
I.A.145Irving and Natalie Forman

1 item found in following folder labeled "Missing Formans."

I.A.146Fort Lauderdale

Correspondence with various individuals.

I.A.147Fort Wayne Museum of Art8/14/1986
I.A.148Modern Art Museum of Fort Worth, TX1982-1998
I.A.149Sir Norman Foster2/25/1991
I.A.150Xavier Fourcade, Inc.1985
I.A.151Jackie Fowler1993-1996
I.A.152Elisabeth Franck1989-1990
I.A.153Eric Franck10/31/1990
I.A.154Stuart Frankel1997
I.A.155Frankfurt - Museum für Moderne Kunst1995

[Folder wrapped in second folder labeled "Frankfurt - DG Bank"].

I.A.157Martin Friedman1991-1996
I.A.158Frito-Lay, Inc.1985-1987
I.A.159Edward F. Frye1986-1992
I.A.160Johannes Gachnang, Kunsthalle Bern1979-1980
I.A.161Gagosian Gallery

[Original folder title: "Gago Contract"]
Includes contract relating to exhibition and representation of MdS by the gallery.

I.A.162Gagosian Gallery

Includes invoices, appraisals, sales contracts and consignment agreements; particular correspondence with Ealan Wingate.

I.A.163Gallaudet College11/27/1979
I.A.164Victor and Sally Ganz11/24/1981
I.A.165Guy S. Gardner2/22/1989
I.A.166Jean François Gegern.d.
I.A.167Sidney Geist1996
I.A.168Henry Geldzahler1990
I.A.169Ken Tyler/Gemini G.E.L.

Includes documentation of MdS work at the studio; ten 35mm color slides of MdS sculptures and prints.

I.A.170Philip George, Miami1990-1995
I.A.171Philip Gersh1990
I.A.172Norman Geske10/15/1990
I.A.173Léonard Gianadda, Fondation Pierre Gianadda, Switzerland1990-1991
I.A.174James Ross, Gibbs Sculpture Collection1997
I.A.175Michael Gibsonn.d.
I.A.176Arthur and Carol Goldberg11/22/1996
I.A.177Helen Goldenberg1/5/1985
I.A.178Adolph and Esther Gottlieb Foundation, Inc.1976-1996
I.A.179Grand Rapids Art Museum, MI1977-1978
I.A.180Anthony Grant12/10/1996
I.A.181Tamara Greeman12/11/1997
I.A.182Greenberg Van Doren Gallery1976-1998
I.A.183David Grob, Grob Gallery1990-1998
I.A.184General Services Administration (GSA)1976-1979
I.A.185Solomon R. Guggenheim Museum1978-1998
I.A.186Agnes Gund1991-1998
I.A.187Dr. Ernst-Gerhard Güse, Saarland Museum10/10/1997
I.A.188Inge Hacher5/5/1995
I.A.189Paul J. Haim1989-1990
I.A.190Charles Hamlin12/6/1996
I.A.191Hampshire College12/11/1992
I.A.192Hannover, Germany

Includes correspondence and thirty-five color snapshots (with negatives) of site for MdS commission by the Verband Deutscher Stahl.

I.A.193Wanda Hansen1977-1990
I.A.194HansenFuller Gallery

Includes photocopies of ledger sheets and other documents detailing income and expenses generated by sales of MdS works by the HansenFuller Gallery in 1975 and other years.

I.A.195Glen Hanson Gallery11/11/1981
I.A.196Hara Museum, Japan6/21/1990
I.A.197Susan Harris

Folder only contains two photocopies of unattributed drawings.

I.A.198Jurgen Harten, Stadtische Kunsthalle, Düsseldorf11/28/1981
I.A.199Ulrich Hartmann, VEBA AG1993-1997
I.A.200Harvard University Museums1996
I.A.201David Heath, Advisory on International Sculpture, Ltd.1991-1995
I.A.202Richard Hedreen1986-1995
I.A.203Henry Art Gallery, University of Washington9/9/1996
I.A.204Arnold Herstand6/12/1987
I.A.205Max-Ulrich Hetzler, Hetzler+Keller GmbH1979
I.A.206Karin and Dieter Heutelbeck11/16/1995
I.A.207Samuel J. Heyman1993-1997
I.A.208Peter Morrin, High Museum of Art, Atlanta1985-1986
I.A.209Hank Hine1986-1989
I.A.210Hirshhorn Museum and Sculpture Garden1975-1997
I.A.211Institute of Scrap Iron and Steel (ISIS) - Hirshhorn

[Original folder contained within previous.]
Contains materials relating to MdS sculpture commissioned by ISIS for the Hirshhorn Museum.

I.A.212Jeffrey Hoffeld & Company, Inc.7/8/1986
I.A.213Edmund M. Hoffman1976-1977
I.A.214William Hokin10/4/1988

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