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Glicksman (Hal) Papers
2009.M.5
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Title: Hal Glicksman papers
Date (inclusive): 1927-2010
Number: 2009.M.5
Creator/Collector:
Glicksman, Hal
Physical Description:
60.5 Linear Feet
(111 boxes, 3 flatfiles)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: The papers document the life and career
of Hal Glicksman, a curator and preparator who contributed to many key exhibitions in
Southern California, and helped found several important Southern California art
institutions. The collection provides information regarding Glicksman's relationships with
artists, his exhibition planning and gallery administration, and the Southern California art
scene in the 1960s and 1970s.
Request Materials: Request access to the physical materials
described in this inventory through the
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Language: Collection material is in English
Born in 1937 in Beverly Hills, California, Hal Glicksman curated a number of key
exhibitions in Southern California during the 1960s and 1970s, and helped establish and
foster several important Southern California art institutions. He started his career as a
preparator at the Pasadena Art Museum under the leadership of Walter Hopps, where he helped
formalize professional guidelines for preparators. While at the Pasadena Art Museum,
Glicksman worked on the 1963 Marcel Duchamp retrospective. He also designed and installed
the United States' presentation for the eighth Bienal Internacional de São Paulo, Brazil in
1965. Glicksman served as Assistant Curator for the Los Angeles County Museum of Art's
exhibition, Art and Technology, 1967-1971.
In 1969 Glicksman was appointed Gallery Director and Assistant Professor at Pomona College.
While there he produced a seminal Michael Asher exhibition, as well as exhibitions of work
by other artists, including Tom Eatherton, Lloyd Hamrol and Ron Cooper. In 1970 Glicksman
accepted a position as Associate Director of the Corcoran Gallery of Art in Washington,
D.C., again under the leadership of Walter Hopps. Glicksman returned to California in 1972
as Director of the Art Gallery at the University of California, Irvine (UCI). Among the
significant group exhibitions he curated at UCI, Assemblage in California and Los Four
demonstrate Glicksman's long-term interest in both Chicano art and assemblage art in
California. While at UCI Glicksman also exhibited work by Bruce Nauman, Maria Nordman, Larry
Bell, Sol Lewitt, Eleanor Antin, Peter Alexander, John Baldessari and Jane Reynolds. In 1975
Glicksman organized the large-scale exhibition Collage and Assemblage at the Los Angeles
Institute of Contemporary Art. Also in 1975, Glicksman was appointed Art Gallery Director at
Otis Art Institute, where he curated exhibitions focusing on contemporary artists such as
Dan Flavin, Richard Tuttle, On Kawara, Hap Tivey, Sam Francis and Wallace Berman. Following
his tenure at Otis, Glicksman curated exhibitions for the Santa Monica Arts Commission and
Beyond Baroque Literary Arts Center.
Additionally, Glicksman made contributions to the design and planning of the new space for
the Pasadena Art Museum at Carmelita Park. In 1981 he founded his own gallery, Percept, a
short-lived venue for light and space art. The first show at Percept featured the work of
Thomas Eatherton. Glicksman also played an important role in the 1985 founding of the Santa
Monica Museum of Art, where he served as the museum's first director and helped establish
the museum's collecting policy and development agenda.
Open for use by qualified researchers.
Contact
Library Reproductions and Permissions .
Hal Glicksman papers, 1927-2008, Getty Research Institute, Research Library, Accession no.
2009.M.5.
http://hdl.handle.net/10020/cifa2009m5
Immediate Source of Acquisition note
Acquired from Hal Glicksman in 2009.
Laura Schroffel processed the collection, made an inventory and wrote the descriptive notes
under the supervision of Andra Darlington. The arrangement was devised by Laura Schroffel,
Andra Darlington and John Tain. Series I, II, III and V retain Glicksman's original order;
series IV was rearranged by a curator. One box was added to the archive in March 2010, after
the initial acquisition in 2009. Laura Schroffel integrated the additional materials into
the collection.
Reformatted Audiovisual Material
Online access to
selected digitized audio recordings is available to on-site readers
and Getty staff.
The following videos have been reformatted and are available as DVD use copies: V15, V16,
V23.
Materials related to the Getty Research Library general collection were transferred and may
be found by searching the library catalog for the phrase Hal Glicksman Collection. The
publications contained in these folders are outside of the scope of the general collection.
Miscellaneous publications include clippings.
Scope and Content of Collection
The Hal Glicksman papers comprise letters, clippings, photographs, negatives, slides,
original artworks, note cards, posters, exhibition announcements, and audio and video
recordings documenting the career and life of Hal Glicksman. The collection provides insight
into Glicksman's relationships with artists, his exhibition planning and gallery
administration, as well as the Southern California art scene in the 1960s and 1970s.
Many of the artist files in Series I contain correspondence regarding art production and
research materials for exhibitions, as well as materials unrelated to art. The series also
includes some original artwork by artists such as Dave Anderson, Tony DeLap and Lowell
Darling.
Glicksman's exhibition files in Series II document his curatorial practice, including
planning, budgeting, installation, and publicity and event organization related to
exhibitions. The exhibition files demonstrate Glicksman's long-term interests in assemblage
art, Chicano art, and Southern California contemporary art.
Series III contains administrative, teaching and research files. Although the
administrative files in this series reflect Glicksman's interest in the arts, they are not
related to specific artists or exhibitions. Rather, the series documents the administration
and policies of several institutions where Glicksman worked. Glicksman's research files
document his wide range of interests, from his involvement with the women's art movement to
his concern with information technologies.
The bulk of the ephemera in Series IV is gallery and museum exhibition announcements. The
series also includes brochures and publicity materials from other cultural institutions.
Most of the materials in this series are from the Southern California area; however, other
regions of California, as well as national and international institutions, are
represented.
Series V contains slides, negatives, transparencies, color photography and audiovisual
materials. Personal photographs form the bulk of the series, including images of Glicksman's
travels across the United States and abroad. Some slides demonstrate Glicksman's own
photographic work documenting Los Angeles and its surroundings. Other slides focus on
individual artists, the Otis Art Gallery, brain hemispheres, and the Collage and Assemblage
exhibition. Most of the audiovisual materials relate to specific artists and
exhibitions.
The collection is arranged in five series:
Series I. Artist files, 1956-2008;
Series II. Exhibition files,
1964-1988;
Series
III. Administrative and research files, 1927-1995;
Series IV. Ephemera,
1959-1995;
Series V. Photographic and
audiovisual materials, 1958-1998.
Flavin, Dan
Nauman, Bruce
Nordman, Maria
Andre, Carl
Bell, Larry
Cornell, Joseph
Eatherton, Tom
LeWitt, Sol
Chicago, Judy
Hopps, Walter
Berman, Wallace
Darling, Lowell
Herms, George
Baldessari, John
Asher, Michael
DeLap, Tony
Anderson, Dave
Art, Modern -- 20th century
Conceptual Art
Artists -- California
Assemblage (Art)
Art museums -- California -- Los Angeles
Mexican American art -- California -- 20th century
Black-and-white negatives
Administrative records
Gelatin silver prints -- United States -- 20th century
Videotapes
Acetate film
Audiocassettes
Color slides
Printed ephemera
Glicksman, Hal