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Guide to the New School Art Center records, 1956-1975

Collection Overview

Repository

New School Collections

Collection Identifier

NS.03.05.02

Creator - Correspondent

Everett, John Rutherford, 1918-1992

Creator

New School (New York, N.Y.).

Creator

New School Art Center (New York, N.Y.).

Title

New School Art Center records, 1956-1975

Extent

6 linear ft: 12 boxes

Summary

The New School Art Center was established in the fall of 1960 with a donation from the Albert J. List Foundation, and remained in operation until around 1977. Directed throughout its existence by Paul Mocsanyi, the Center's programs reflected the New School's founding commitment to engage provocative subjects, using art to explore contemporary political and social issues. Mocsanyi's files also document the founding of the Collectors Institute, a membership organization for private collectors established in 1973. Materials include exhibition catalogs, artist files, press coverage, posters, fliers and other publicity, administrative correspondence, and photographs, as well as the files of Paul Mocsanyi.

Preferred Citation note

[Identification of item], [date (if known)], New School Art Center records, NS.03.05.02, box __, folder __, New School Archives and Special Collections, The New School, New York, New York.

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Biographical note

Paul Mocsanyi (originally Mocsányi Pál), who initiated and directed the New School Art Center for more than a decade, was born in Budapest, Hungary in 1900 to a grain merchant family. He attended various universities in Budapest, Vienna and Paris studying art and music, without pursuing a degree. German and Hungarian were his native languages and he spoke fluent English and French.

In 1928, the financial crisis drove the company Mocsanyi had inherited from his father into bankruptcy. He went on to serve, from 1933-1939, as a Budapest correspondent for the French News Agency, Agence Havas. Much later, in an employment application to the Central Intelligence Agency, Mocsanyi reported that he had fled Hungary in 1938 after the government accused him of "disseminating information harmful for the Hungarian economy." He continued working for Havas from Paris as head of their radio listening post (1939-1940). During this time he also worked as a news analyst for the French Foreign Office.

In 1935, Mocsanyi married the Vienna-born Edith Wachtel, a renowned pianist. The couple moved to the United States in 1941, a year after the Nazi defeat of Paris. Soon after arriving in New York, Mocsanyi started working for the United Press, and stayed with the agency for sixteen years, first as the head of their radio listening post, later as head of the library and art critic for the foreign desk. He became a naturalized U.S. citizen in 1946.

Mocsanyi taught music and art history at the New School from 1958, and was appointed director of the newly founded Art Center in October 1960. In the first year of the Center he organized two major exhibitions, The Creative Process, which later travelled North America, and  Mechanism and Organism, which was favorably received by the professional art community. Also in the Center's first year, Mocsanyi invited such figures as art historian Ernst H. Gombrich and art critic Clement Greenberg to speak at the Art Center. Mocsanyi resigned his post in January 1962 over conflicts about the terms of his employment. He was rehired, however, on his own terms, in August 1962 following the recommendation of the Art Center Committee, chaired by philanthropist and art collector Vera List. Mocsanyi ran the Center until he was pressed to resign in 1975, although he stayed on as curator of exhibitions for two years after his resignation.

According to documents in this collection, Mocsanyi was a member of the Purchase Committee of the List Art Purchase Fund from its beginnings in the 1950s, which later grew into the university’s Art Collection. Mocsanyi devoted more time to the Art Collection after retiring from the Center, and remained involved with the school into the 1980s.

Mocsanyi wrote monographs of Karl Knaths and Alfred Van Loen, in 1957 and 1960, as well as numerous exhibition catalogs. He published more than six hundred art reviews.

Paul Mocsanyi died in 1993 in New York, eleven years after his wife. Mocsanyi was born into a class of society that vanished in Hungary with the Soviet occupation, and his life story can be viewed as a reflection of the political and social upheavals that transformed Europe over the course of the first half of the twentieth century.

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Historical note

The New School Art Center was established in the fall of 1960 with a significant gift by the Albert J. List Foundation, and remained in operation until the mid-1970s. The Center's original mission statement describes its ambitious project:

[The Art Center represents] a continuing effort by the New School for Social Research to manifest its interest in art as a major endeavor of man and society. The Art Center embraces no particular movement or group, but serves as a forum for all noteworthy expression by artists of this and other nations. It attempts to make its own unique contribution to the cultural life of New York City, rather than to duplicate efforts of the many excellent art institutions in this community.

Directed throughout its existence by Paul Mocsanyi (MO-chan-yee), the center's programs were geared toward students, professional artists and critics, and "an enlightened public." Mocsanyi mounted several exhibitions per year, organizing public programs that brought in outside experts to explore and expand upon exhibition themes. Striving to embody the New School's founding commitment to openly engage with progressive, provocative subjects, exhibitions often revolved around contemporary political and social issues.

In the 1960s, Art Center exhibitions were usually presented in Wollman Hall on the fifth floor of 66 West 12th Street. Sculpture exhibitions were sometimes held in the New School courtyard. Despite support from New School president John Everett, the Art Center was never able to secure Wollman, nor any other location in the building, as a permanent space dedicated exclusively to exhibition. In 1969, the Art Center held its inaugural exhibition in the university's new Graduate Faculty Center at 65 Fifth Avenue. The catalog for the 1969 exhibition announces a "new dimension" to the Art Center: the permanent display of contemporary artwork "throughout the New School." Indeed, Mocsanyi's role at the New School appears to be evolving during this period. Early on, his primary activity was centered around exhibitions and public programming. In the latter half of the 1960s, he expanded the center's focus to address the theoretical and practical concerns of public and private art collectors. In 1967, the center launched a lecture series that ran for several years, Collectors on Collecting . At least two exhibitions from this period also feature work from private collections, including the posters of Vera and Albert List's and Nelson A. Rockefeller's collection.

The Art Center's programming in the late 1960s and early 1970s demonstrates its commitment to exploring the historical and contemporary relationship of art and artists to social and political protest in the United States and Europe. Exhibitions such as the Hiroshima Panels confronted the outcome of the American bombing of Japan during World War II; and a number of exhibitions employed art as a vehicle for expressing outrage about the expanding Vietnam War.

In 1973, with the help of the Art Center Committee, in particular Vera List and Alice Kaplan, the New School established the Collectors Institute, with Mocsanyi as director. The Institute was a membership organization "established exclusively for the purpose of conducting the nation's first educational program meeting the intellectual and practical needs of the private art collector." While its educational goals were sincere, the funds raised by the institute were initially expressly intended to support the New School Art Center. The original List Foundation gift was dwindling, and there was no commitment to replace this funding by the New School administration.

In a 1975 letter, President Everett informed Mocsanyi, then 75 years old, that he must retire as head of the Art Center beginning in 1976. In the same letter, Everett indicated that Mocsanyi would continue to lead the Collectors Institute and to act as curator of the New School Art Collection. Mocsanyi's files reveal his active role in cultivating donors, acquiring donated work, and deaccessing artwork from the collection in the late 1970s and early 1980s.

In his letter terminating Mocsanyi's role as director of the Art Center, Everett assured Mocsanyi that his retirement would not mean the demise of the Art Center. Indeed, Mocsanyi evidently retained a hand in the center's operations into 1977, when he collaborated with outside curators to bring a branch of a three-pronged exhibition, Berlin Now , to the New School. But records in this collection related to the New School Art Center exhibitions end here. By July 1977, the New Museum, a fledgling operation devoted to the exhibition of contemporary art, was invited to use the Art Center offices at 65 Fifth Avenue until they could find a more permanent home, and no documentation has been found to indicate that the center relocated or mounted any exhibitions after 1977.

In 1977, promotional materials indicate that the name of the Collectors Institute changed from the Collectors Institute of the New School Art Center, to the Collectors Institute of the New School. The institute continued on at least through the spring of 1978, and Mocsanyi remained curator of the Art Collection until 1985. According to documents in this collection, by 1976 the New School owned 135 artworks, a number that included the murals created by Jose Clemente Orozco, Thomas Hart Benton, Camilo Egas, and the mosaic created by Gonzalo Fonseca, as well as sixty-one works on extended loan. The New School Art Collection file documents a flurry of donations of art in the early 1980s, as well as efforts led by Mocsanyi to auction and sell off work from the collection. The Art Collection file also documents the development of policy for the collection, including defining the duties of curator and characterizing the nature and driving principles behind expanding the collection.

A number of forces may have contributed to the discontinuation of the New School Art Center. The center was wholly funded for more than a decade by Vera and Albert A. List, and it may be that it was no longer financially feasible to continue. It is also possible that, as Mocsanyi's interests focused more on cultivating and maintaining the New School Art Collection, his energies were diverted from the exhibitions program. It is further possible that the merger of Parsons School of Design with the New School in 1970 may have played a role, as Parsons had an exhibitions program of its own.

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Scope and Contents note

The materials in this collection document the breadth of exhibition and public programming activity of the New School Art Center throughout most of its existence, including the development of the Collectors Institute in the 1970s. The records of Paul Mocsanyi, the center's sole director, represent the evolution of the Art Center from a focus on exhibitions and public programming to a concentration on collecting art and the development of the New School Art Collection.

The Artist files series includes biographical and professional dossiers on artists who participated in exhibitions throughout the early years of the Art Center, with curriculum vitae, correspondence with the center, exhibition announcements, and biographical narratives and artist statements.

The Exhibitions series includes promotional materials, and administrative notes and correspondence, related to the Art Center's exhibitions and public programming activities, as well as catalogs produced for the exhibitions, which often include an introduction by Paul Mocsanyi.

Photographs of Artwork includes prints that may have been compiled for reference and/or for use in promoting exhibitions.

The Records of Paul Mocsanyi series documents his activity as director of the New School Art Center, and his work as a writer and lecturer on art history and criticism at the New School and elsewhere. The series includes correspondence, including documentation of Mocsanyi's efforts to negotiate a secure position as director of the Art Center; reports and other communications with New School administrators and others, including members of the Art Center Committee; and notes, writings and correspondence from Mocsanyi's professional life as an art historian and critic outside of the New School. Personal files include correspondence in German and Hungarian with family in Hungary. A few files include biographical records and documentation related to Mocsanyi's professional struggles, pursuits and aspirations, and his career as an art critic prior to his engagement at the New School.

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Arrangement note

Arranged alphabetically in 4 series.

  1. Artist files
  2. Exhibitions
  3. Photographs of artwork
  4. Records of Paul Mocsanyi

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Administrative Information

Finding aid written by Agnes Sagnyi and New School Archives & Special Collections staff.

Publication Information

New School Collections - August 15, 2016

66 Fifth Avenue
lobby
New York, NY, 10011
212.229.5942
archivist@newschool.edu

Preferred Citation note

[Identification of item], [date (if known)], New School Art Center records, NS.03.05.02, box __, folder __, New School Archives and Special Collections, The New School, New York, New York.

Access Restrictions

Collection is open for research use. Please contact archivist@newschool.edu for appointment.

Use Restrictions

To publish images of material from this collection, permission must be obtained in writing from the New School Archives and Special Collections. Please contact: archivist@newschool.edu.

Custodial History note

While the originating offices for many of the materials here have not been definitively identified, it is likely that some of the files with promotional materials were kept by the New School Publicity Office, while others may have been maintained by the New School Art Center. Paul Mocsanyi's records were most likely transferred from the Art Center office to the office of the New School Art Collection, as Mocsanyi, after retiring as director of the Art Center, stayed on to serve as curator for the New School Art Collection.

Immediate Source of Acquisition

All material in this collection, with the exception of the Records of Paul Mocsanyi series, was transferred to the archives from Raymond Fogelman Library in January 2009. Mocsanyi's records were transferred directly from the New School Art Collection in 2014.

Processing Information note

Collection guide written by Agnes Szanyi and New School Archives & Special Collections staff.

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Related Materials

See the New School mural commission documentation (NS.03.05.01) collection for detailed information about the New School murals. The New School Art Collection records (2016.NS.16) document the art collection in the decade following those documented in this collection. Original work from the exhibition, My God! We're Losing a Great Country, will be found in the Parsons School of Design academic departments, programs and schools collection (PC.02.01.01).

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Keywords for Searching Related Subjects

Corporate Name(s)

  • New Museum (New York, N.Y.).
  • New School for Social Research (New York, N.Y. : 1919-1997).
  • The New School Art Collection.
  • United States Information Agency.

Genre(s)

  • Administrative records.
  • Biographies.
  • Catalogs.
  • Correspondence.
  • Exhibition records.
  • Lecture notes.
  • Photographs.
  • Publications.
  • Reports.
  • Transcripts.

Personal Name(s)

  • Gombrich, E. H., (Ernst Hans), 1909-2001
  • Mocsanyi, Paul

Subject(s)

  • Art centers.
  • Art collections.
  • Art criticism
  • Art publicity.
  • Art -- Exhibitions.
  • Art -- History
  • Art -- Study and teaching -- New York (State) -- New York -- 20th century.
  • College publications -- New York (State) -- New York.
  • Politics in art -- Exhibitions.
  • Workshops (Adult education).
  • Workshops in art.

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Other Finding Aids note

For selected item-level description and images from the the New School Art Center records, see The New School Archives Digital Collections at http://digitalarchives.library.newschool.edu/index.php/Detail/collections/NS030502.

The New School Art Center audio recordings of public programs collection (NS.07.02.02) documents a series of public events sponsored by the Art Center. See http://digitalarchives.library.newschool.edu/index.php/Detail/collections/NS070202.

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Collection Inventory

Series I. Artist files circa 1960-1966 

In addition to curriculum vitae and exhibitions lists, some files here include correspondence between artists or their representatives and Art Center director Paul Mocsanyi, as well as exhibition announcements, critical commentaries, and artist statements.

Many of the artists listed here are represented in an index that cross-references their name with associated with the New School Art Center exhibition(s) in which their work appeared. The index can be accessed here: http://guides.library.newschool.edu/index.

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Box Folder
A-D 

Includes information about the following artists:

* Agostini, Peter

* Ajay, Ibrahim Mahfoud

* Albert, Calvin

* Alcalay, Albert S.

* Avery, Milton

* Barbash, Steven A.

* Barron, Harris

* Berger, Jason

* Bertoia, Harry

* Biala, Janice

*Bischoff, Elmer

* Blaine, Nell

* Boghosian, Varujan

* Bolomey, Roger

* Bonevardi, Marcelo

* Bontecou, Lee

* Botero, Fernando

* Botkin, Henry Albert

* Boyle, Kay

* Brody, Lilly

* Brown, Judith

* Burgeois, Louise

* Burlin, Paul

* Button, John

* Cajori, Charles

* Calcagno, Lawrence

* Caparn, Rhys

* Carton, Norman

* Cesar

* Chadwick, Lynn

* Chamberlain, John Angus

* Chen, Chi-Kwan

* Chinni, Peter Anthony

* Christopher, William R.

* Cline, William Z.

* Cobb, Ruth

* Consagra, Pietro

* Corbett, Edward

* Cusumano, Stefano

* Davis, Stuart

* De Kooning, Elaine

* Deira, Ernesto

* Diebenkorn, Richard

* Di Lauro, Alfred

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1 1
E-J 

Includes information about the following artists:

* Egas, Camilo * Ellin, Everett

* Evett, Kenneth

* Falkenstein, Claire

* Farkas, Charles

* Fendell, J.

* Floch, Joseph

* Frank, Mary

* Frankenthaler, Helen

* Freund, Tibor

* Friedensohn, Elias

* Frink, Elisabeth

* Fuller, Sue

* Geber, Hana

* Georges, Paul

* Giambruni, Tio

* Gladstone, Gerald

* Gold, Fay

* Goldin, Leon

* Grooms, Red

* Halkin, Theodore

* Hardy, Tom

* Hartigan, Grace

* Harvey, James

* Hatchett, Duayne

* Heliker, John Edward

* Hios, Theo

* Hofman, Hans

* Honegger, Gottfried

* Hultberg, John

* Ikeda, Masuo

* Ipousteguy, Jean

* Ippolito, Angelo

* Jackson, William Ward

* Jutte, Noel W. * Joe, Dale

* Johnson, Lester

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1 2
K-N 

Includes information about the following artists:

* Kadish, Reuben

* Kaldis, Aristodemis

* Kalinowski, Horst-Egon

* Kanemitsu, Matsumi

* Katzman, Herbert

* Kearns, James

* Kienbusch, William

* Klement, Vera

* Klippel, Robert

* Knaths, Karl

* Koenig, Fritz

* Kondo, Tatsuo

* Kriesberg, Irving

* Landau, Jacob

* Lassaw, Ibram

* Lechay, James

* Lethem, Richard B.

* Levi, Jullian

* Lipman-Wulf, Peter

* Lipton, Seymour

* Lum, Harry

* Luzzatto, Francis

* MacIver, Loren

* Maldarelli, Oronzio

* Mallary, Robert

* Mastroianni, Umberto

* Mayhew, Richard

* McNear, Everett

* Meadows, Bernard

* Metcalf, James

* Mitchell, Joan

* Molinari, Guido

* Moller, Hans

* Mommer, Paul

* Murch, Walter Tandy

* Nadas, Georgette

* Nakian, Reuben

* Napoli, Guiseppe

* Natkin, Robert

* Neuman, Robert S.

* Nevelson, Louise

* Nickford, Juan

* Nivola, Constantino

* Noe, Louise Felipe

* Noguchi, Isamu

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1 3
O-S 

Includes information about the following artists:

* Odate, Toshio

* Paris, Harold P.

* Pavia, Phillip

* Penalba, Alicia

* Pereira, I. Rice

* Peterdi, Gabor

* Phillips, Marjorie

* Porter, David

* Powell, Leslie

* Rattner, Abraham

* Reed, Paul

* Reifenberg, Jan G.

* Reynal, Jeanne

* Rivers, Larry

* Rohm, Robert

* Romano, Clare

* Rosati, James

* Rosenberg, Harold

* Rosenquit, Bernard

* Saunders, Ray

* Sawada, Tetsuro

* Schueler, Jon

* Schmidt, Julius

* Schrag, Karl

* Schreyer, Greta

* Segal, George

* Selz, Peter

* Shahn, Ben

* Sherman, Sarai

* Sivard, Robert

* Slivka, David

* Smith, David

* Solomon, Hyde

* Spaventa, George

* Stadelmayer, Peter

* Stankiewiez, Richard

* Strombotne, James

* Stuck, Jack

* Sugarman, George

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1 4
T-Z 

Includes information about the following artists:

* Tam, Reuben

* Telford, Taylor

* Teshigahara, Sofu

* Triano, Anthony

* Turnbull, William

* Tworkov, Jack

* Uhlmann, Hans

* Van Den Haag, Ernest

* Van Loen, Alfred

* Van Veen, Stuyvesant

* Viesulas, Romas

* Vodicka, Ruth

* Von Eckardt, Wolf

* Von Wicht, John

* Wald, Sylvia

* Walsh-Kippe, Alida

* Weber, Hugo

* Wexler, George

* Wilson, Jane

* Wines, James

* Yektai, Manoucher

* Yunkers, Adja

* Zogbaum, Wilfrid M.

* Zucker, Murray

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1 5

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Series II. Exhibitions 1961-1977 

Link to selected images from this series.  

Many of these files include promotional materials, catalogs, correspondence and press coverage of exhibitions. Notation has been made where catalogs are not included. Certain files also include photographs of artwork, correspondence, and artists' statements.

An index of exhibitions that cross-references the exhibition title with the artists participating in them is available here: http://guides.library.newschool.edu/index.

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Box Folder
Abraham Rattner: The Gallows of Baghdad, 1970 
4 8
American Conscience, 1964 

This exhibition was the second in a series entitled Art and Society. An audio recording of a roundtable discussion held in conjunction with the exhibition features artists Leonard Baskin, Helen Frankenthaler, and Lester Johnson, along with social critic and sociologist Ernest Van Den Haag: http://digitalarchives.library.newschool.edu/index.php/Detail/objects/NS070202_NSAC_02

1 6
American Drawings of the Sixties: A Selection, 1969-1970 
1 7
American Posters of Protest (1966-1970), 1971 
1 8
Americans in Paris (1600-1900), 1972 
1 9
Art as a Political Weapon, Weimar-Nurenberg-Bonn, An Exhibition of German Posters, 1963 

An audio recording of a public roundtable discussion held in conjunction with this exhibition is available online: http://digitalarchives.library.newschool.edu/index.php/Detail/objects/NS070202_NSAC_01.

6 6
Art in a Concentration Camp: Drawings from Terezin, 1965-1973 

Includes information about the exhibition, as well as extensive documentation on a lawsuit related to ownership and publication of work from the exhibition.

Catalogs and announcements, 1968 
5 1
Correspondence, 1965-1971 
5 2-6
Haas lawsuit, 1968-1973 
5 7-8
Publicity, 1968-1971 
5 9-11
Artist's Reality, An International Sculpture Exhibition, 1964 

An audio recording is available of a roundtable discussion held in conjunction with this sculpture exhibition, featuring Peter Agostini, Robert Mallary, Phillip Pavis, George Segal and George Sugarman: http://digitalarchives.library.newschool.edu/index.php/Detail/objects/NS070202_NSAC_03

1 10
2 1
Berlin Now, Contemporary Art 1977, 1977 
2 2
Bob Thompson, 1968-1969 
5 12
Contemporary French Tapestries, 1965, 1973 
2 3
Contemporary Urban Visions, 1966 
2 4-5
Creative Process, 1961 
2 6
Erotic Art, 1973 
2 8
Graphic Way: Experiments in Editorial Art, 1973 
2 9
Governor Rockefeller's Collection from the Albany Mansion, 1967 
4 10
Hiroshima Panels, 1970 
2 10
Homage to Trajan, 1966 
2 11
Humanist Tradition in Contemporary American Painting, 1968 
3 1
Humanists of the Sixties, Man in Modern Sculpture, Drawing and Print, 1962 
3 2-3
Humor, Satire, and Irony, An Internal Exhibition of Sculpture, Paintings, Drawings, and Prints, 1972 
3 4
Hundertwasser (1975-1980 USA), the Albertina Exhibition of Hundertwasser's Complete Graphic Work (1951-1975) [photocopy of catalog], 1975 

It is not clear that this traveling exhibition came to The New School.

3 5
Inaugural Exhibition: New School Graduate Faculty Center, 1969 
3 6
José DeCreeft: A Retrospective Exhibition, 1974 
2 7
Jugundstil Expressionism, 1965-1966, undated 
3 7
Landscape in Recent American Painting, 1963 
3 8
List Art Poster Program (1963-1973), 1973 
3 9
Mechanism and Organism, An International Sculpture Exhibition, 1961 
3 10
Museum Leaders Collect, Selections from the Private Collections of Ten New York Museum Directors and Curators, 1970 
4 1
My God! We're Losing a Great Country, 1970 

This exhibition was created by Parsons School of Design students as a statement of solidarity with the National Student Strike called after the shootings at Kent State University and in opposition to the escalating war in Vietnam. First on view at Parsons, just prior to the school's affiliation with the New School, the exhibition was remounted by the New School Art Center. Original work from this collection will be found in the Parsons School of Design academic departments, programs and schools collection (PC.02.01.01).

4 2
One Hundred Italian Drawings From the 14th to 18th Centuries from the Janos Scholz Collection, 1971 
4 3
Photographic Exhibition by Marion Palfi, 1961 
4 4
Photography of the Metropolitan Opera by Paul Seligman, 1962 
4 5
Portraits from the American Art World, 1965 
4 6
Protest and Hope, An Exhibition of Contemporary American Art, 1967 
4 7
Recent Drawings by New York Artists, 1961 
4 9
Sculpture from the Albert J. List Family Collection, 1965 
4 11
Three Centuries of French Posters, On Loan from the Musée des Arts Décoratifs in Paris, 1975 
6 1
Three Centuries of French Satire, On Loan from teh Print Collection o fthe Bibliotheque Nationale in Paris, 1974 
6 2
Twelve Irish Painters, 1963 

Includes photographs of Nora McGuinness, Joseph Flock, and others [Photographer: Paul Seligman]

6 3
Twentieth Century German Graphics, 1975 
6 4
Vietnam War photographs, 1968 

Includes photographs of an exhibition and two magazines in Japanese that include graphic photographs of carnage during the Vietnam War. Japanese wall text suggests that this exhibition may not have taken place at the New School, and no documentation has been identified that indicates it did.

6 5
n_9 4

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Series III. Photographs of artwork probably 1960s 

All photographs are black and white, and most are of low quality.

Box Folder
By subject, probably 1960s 
Unidentified artworks 
6 7
Ballet 

Includes work by:

* Balletto a Cavallo 1667, Italy [artist not identified]

* Bertolotti[?], Cesare, portrait of ballet dancer Fanny Cerrito

* Delfau, André [stage design for Paris Opera production of "Serenade"]

* Lepri, Stanislas [costume design for Poland Petit Ballet, "L'Oeuf a la Coque"]

* Maywood, Augusta [portrait lithograph, 1843]

* Mignard, Pierre[?] [portrait of La Fontaine]

More...

6 8
Exhibition installations 
6 9
German exhibition posters 
6 10
German political posters 
6 11-13
By artist 

Includes work by:

*Agostini

*Andrews

*Armitage

*Aronson

*Avery

More...

7 1
BA-BE 

Includes work by:

* Baizerman

* Baskin

* Baziotes

* Bearden

* Beauchamp

* Bell

* Bellmer

* Bertoia

More...

7 2
BI-BO 

Includes work by:

* Bischoff

* Bishop

* Blaine

* Bloom

* Boghoshian

* Boitard

* Bombois

More...

7 3
Bolomey 
7 4
B0-BR 

Includes work by:

* Bonevardi

* Bonoly

* Bontecou

* Botero

* Bouché

* Braque

* Brenner

* Brichtova

More...

7 5
BR-BU 

Includes work by:

* Brice

* Brody

* Brown

* Burchfield

* Burlin

* Burliuk

More...

7 6
CA-CH 

Includes work by:

* Cajori

* Calder

* Callery

* Calo

* Carey

* Cezanne

* Chadwick

* Chinni

More...

7 7
CI-CR 

Includes work by:

* Cicero

* Comtois

* Congdon

* Constant

* Cooke

* Copley

* Cross

More...

7 8
DA-DE 

Includes work by:

* da Silva

* de Creeft

* Degas

* Dehn

* Dehner

* E. De Kooning

* W. De Kooning

More...

7 9
DE-DU 

Includes work by:

* de Leon

* DeNiro

* Diebenkorn

* Diederich

* Dine

* Dubuffet

More...

7 10
EA-FR 

Includes work by:

* Eades

* Egas

* Feininger

* Fernandez

* Fini

* Fischlova

* Fleischmann

* Fleming

* Floch

* Fonseca

* Frances

* Frankenthaler

* Franklova

* Frasconi

* Fritta

More...

7 11
GA-GO 

Includes work by:

* Gatch

* Gay

* Gaylor

* Georges

* Gergely

* Gikow

* Glarner

* Goldin

* Goodman

More...

7 12
GO-GW 

Includes work by:

* Gorky

* Gottlieb

* Gris

* Gromaire

* Grooms

* Grosz

* Guston

* Gwathmey

More...

7 13
HA-HI 

Includes work by:

* Hague

* Halkin

* Hartigan

* Hartley

* Harunobu

* Hayes

* Heliker

* Henri

* Hepworth

* Hinman

* Hiroshige

More...

7 14
HI-HU, I 

Includes work by:

* Hirsch

* Hollingsworth

* Holty

* Hopper

* Hultberg

and a work titled: "Illustration to the Kamakala, a Text on Lovemaking from India"

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7 15
JA-JU 

Includes work by:

* Jackson

* Jaffe

* Johns

* Johnson

* Judd

More...

7 16
KA-KL 

Includes work by:

* Kahn

* Kaish, L.

* Kaish, M.

* Katzman

* Kaldis

* Kitaj

* Klee

* Klimt

* Kline

More...

8 1
KN-KU 

Includes work by:

* Knaths

* Kobashi

* Kohn

* Komasha

* Kopman

* Kortlander

* Koryusa

* Kraiberg

* Kunisada

* Kuntz

More...

8 2
LA-LE 

Includes work by:

* La Farge

* Lam

* Langlais

* Lassaw

* Lawrence

* Lebrun

* Lechay

* Leger

* Lekakis

* Levi

More...

8 3
LE-LY 

Includes work by:

* Levine

* Lichtenstein

* Lindner

* Lipchitz

* Lipman-Wulf

* Lipton

* Lum

* Lytle

More...

8 4
MA-MI 

Includes work by:

* MacIver

* Maciuer

* Maillol

* Mallary

* Marca-Relli

* Marsh

* Matisse

* McGuiness

* Meade

* Milder

* Miro

More...

8 5
MI-MU 

Includes work by:

* Mix

* Morales

* Moravec

* Morris

* Motherwell

* Munakata

* Murch

More...

8 6
NA-PA 

Includes work by:

* Nakian

* Negri

* Neuman

* Noguchi

* Oliveira

* Paris

* Park

More...

8 7
PA-PI 

Includes work by:

* Pascin

* Pavia

* Pene du Bois

* Picasso

also:

* Persian Pencil Drawing

* Peruvian Figures

More...

8 8
PI-RA 

Includes work by:

* Pignon

* Pippin

* Pollack

* Ponce de Leon

* Poons

* Rattner

* Rauschenberg

More...

8 9
RE-RY 

Includes work by:

* Reinhoud

* Rivers

* Roberts

* Robinson

* Roszak

* Ryder

More...

8 10
SA-SH 

Includes work by:

* Sadahide

* Samuel

* Saunders

* Schickova

* Schmidt

* Schreyer

* Schwartz

* Segal

* Seley

* Shahn

More...

8 11
SH-ST 

Includes work by:

* Sherman

* Shuncho

* Shunsui

* Sleigh

* Sloan

* Solomon

* Sonderberg

* Soyer

* Stamos

* Stankiewicz

* Steinberg

More...

8 12
ST-SU 

Includes work by:

* Stella

* Stephani

* Sterne

* Stoltenberg

* Stranska

* Strombotne

* Sugai

* Sugarman

* Sumi

More...

8 13
Thompson 
8 14
TI-TY 

Includes work by:

* Ting

* Tobey

* Tomlin

* Torres

* Toulouse-Lautrec

* Tovish

* Trajan

* Tryggvadottir

* Tytell

More...

9 1
UN-WE 

Includes work by:

* Ungerer

* Utamaro

* Valente

* Van Loen

* Vytlacyl

* Waldsteinova

* Walsch-Kipke

* Warhol

* Watkins

* Weber, H.

* Weber, M.

More...

9 2
WE-Y 

Includes work by:

* Weiss

* Weissova

* White

* Wines

* Winter

* Yektai

* Yoshimori

More...

9 3

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Series IV. Records of Paul Mocsanyi 1948-1985 

Link to selected images from this series.  

Includes material in Hungarian, German and French, as well as English.

Box Folder

Office files, 1959-1985 

Box Folder
Correspondence, 1960-1975 
General, 1960-1974 
9 4
Birenbaum, William, 1961 
9 5
David, Henry, 1961-1964 
9 6
Everett, John, 1964-1975 
9 7
Hosiosky, Issai, 1961 
9 8
Letters of support and congratulations, 1961-1962 
9 9
Longstretch, Natalie L., 1963-1966 
9 10
MacIver, Robert M., 1962-1966 
9 11
Schaffner, Ruth, 1972 
9 12
Art Center Committee, 1960-1973 

Includes minutes of meetings mostly dating from the early years of the Art Center, documenting debate and discussion around exhibition content and scheduling, budgets, space allocation, as well as the structure and existential purpose of the Art Center. Reports in the file also touch upon the List Art Purchasing Fund, a separate unit established in the 1950s by Vera and Albert A. List. According to Mocsanyi, the purchasing fund ceased making acquisitions in 1961, fuelling his efforts to initiate a loan program through the Art Center to bring sculpture to the New School courtyard.

9 13
Collectors [lists], circa 1965 
9 14
Collectors and Collecting: General, 1966-1968 

This public lecture series, initiated and organized by New School Art Center director Paul Mocsanyi, brought leading experts to the New School to discuss aesthetic, economic, political, and psychological dimensions of collecting art. Speakers included August Heckscher; Samuel Melvin Kootz; Werner Muensterberger; Pollen Peregrine; Richard H. Rush; Nelson A. Rockefeller; and James Johnson Sweeney. The recurring series preceded the Collectors Institute by several years, continuing as an offering of that program after the institute was established. The file includes letters of permission by speakers to have the events recorded and broadcast on radio station WBAI.

Seven audio recordings of the 1967 series are available: http://digitalarchives.library.newschool.edu/index.php/Detail/collections/NS070202.

More...

9 15
Collectors and Collecting: Transcripts, 1967 

Includes transcripts of talks by Dr. Warner Muensterberger ("Why Do We Collect?") and Governor Nelson A. Rockefeller ("The Private Collector and the Changing Public Taste"). Audio recordings of these presentations are available: http://digitalarchives.library.newschool.edu/index.php/Detail/objects/NS070202_NSAC_10; http://digitalarchives.library.newschool.edu/index.php/Detail/objects/NS070202_NSAC_11.

9 16
Collectors Institute: General, 1969-1979 

The Collectors Institute was formed in 1973 as a membership organization that, according to Mocsanyi, would meet the "intellectual and practical requirements of the private art collector." The institute was viewed by New School administrators as a way to interest wealthy art-lovers in the school to further development plans, and, more immediately, as a fundraising mechanism to support the New School Art Center.

9 17
Collectors Institute: Programs, 1974-1978 
9 18
Commencement address by Clara Mayer, 1961 
9 19
Founding, 1959-1960 
9 20
Gombrich, Ernst H., 1961 
9 21
New Museum, 1977-1983 
10 1
New School Art Collection, 1963-1985 

Includes memoranda on artwork belonging and loaned to the university, indicating sales and gifts and updated insurance valuations. After Mocsanyi left the New School in 1985, a short-lived committee was appointed to make decisions about the art collection. For a time, Malcolm Carter, director of Communications, seems to have had oversight of the collection. When a second advisory committee was appointed in 1986, Vera List, whose support was central to the survival of the Art Center and the art collection, was appointed chair. The file includes discussions about whether to hire a new director of the collection. The New School Art Collection records indicate that Kathleen Goncharov was hired as curator of of the collection in 1987.

10 2
Other exhibitions and art centers, 1962-1967 
10 3
Press clippings, 1960-1961 
10 4
Promotional statements and materials, 1960-1966 
10 5
Proposed exhibition on Atelier 17, 1975-1976 
10 6
Prospective patrons [lists], undated 
10 7
"Ten Years of the New School Art Center" [manuscript for article], 1971 
10 8
USIA [United States Information Agency] Hungarian Broadcasts on New School Art Center exhibitions, 1962 

Includes transcripts of radio broadcasts in Hungarian related to exhibitions Mocsanyi curated at the New School Art Center, including The Creative Process (1961) and the sculpture exhibition  Mechanism and Organism (1961). Also includes a 1962 message from someone at USIA indicating that an essay by Mocsanyi would be published and possibly broadcast over the radio in Hungary.

10 9

Personal, 1956-1963 

Box Folder
Correspondence [in German and Hungarian], 1956-1963 

Includes correspondence with Felice Fischer.

10 10-11
Correspondence: Paul and Edith Mocsanyi, 1958-1963 

Correspondence, in German, of Paul Mocsanyi and his wife, Edith, with a friend, Paul Goez, in Vienna. In a letter dated June 3, 1962, Mocsanyi makes brief comments about the New School Art Center and his position as director, including negotiations between Vera List and President Henry David about the center.

10 12-13
Financial, 1959-1962 
10 14
Box Folder

Photographs, circa 1965, 1965, undated 

Includes photographs by Fred Stein and John A. Ferran[?].

n_5 11
11 7

Professional activities, 1948-1962 

Box Folder
General, 1948-1962 
Applications for fellowships and residencies, 1957-1960 
10 15
"Art in Reviews" clippings [column by Mocsanyi], 1948-1955 
11 1
Employment, 1955-1962 
11 2
Great Masterpieces as Interpretations of Human Destiny [course description], 1959 

Includes a letter in German discussing a possible course for the upcoming semester.

11 3
Letters to editors, 1958 
11 4
"The Mid-Century" No. 11, 1960 Apr 
11 5
Notes Used: Changing Conceptions, probably late 1950s 

Includes notes, in German, on art history, including sixteenth century paintings.

11 6
Photograph [unidentified], undated 
11 7
Published writing, 1953 
11 8
Resumes, autobiographical statements and membership, 1956-1962 
11 9
Speaking engagements, correspondence regarding, undated 
11 10
Skira, Inc. [art book publisher], 1952-1959 
11 11
Writings and notes, undated 

Includes a draft of a poem in German, notes in German about avant-garde painters and art history, and notes in Hungarian about Abstract Expressionism as a reflection of American "mass civilization" and conformism.

11 12-13
Writings submitted for publication, 1958-1962 
11 14
Lecture notes, 1959-circa 1962 

Includes notes in Hungarian and German on aspects of art history, mostly avant garde painters.

Unidentified lecture, early 1960s 
11 15
Abstract Expressionism, undated 
11 16
American notes, undated 
11 17
Changing Conceptions of Subject Matter (lectures 1, 3-10, 15), early 1960s 
11 18-20
12 1-2
Diverse lectures (Pollock, Gorky, Burlin), 1959-1960s 
12 3
Intention and Communication, 1959 
12 4
Lectures for course #1060 (Hoffman, Pollock, Gottlieb, Weber), Spring 1961 
12 5
Notes used and not used, undated 

Includes notes on readings in art history.

12 6
Reality and Ideas (lectures 1-3), undated 
12 7
Sisterhood Time, 1959-1961 

Notes on a lecture in German given at the Community Center of Congregation Habonim in New York City, entitled, "Die Oper Als Spiegel des Menschlichen Schiksals: Lebensweisheit in 'Der Rosenkavalier' und 'Die Meistersinger'." [Translation: "The Opera as Mirror of Human Destiny: Life Wisdom in 'Der Rosenkavalier' and 'Die Meistersinger'"]

12 8
Tradition and Revolution (lectures 3-14), undated 
12 9
Works of Art as Interpretations of Human Destiny, (lectures 1-7), 1960 
12 10-11

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Collection Guide Last Updated: 10/25/2016

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