Correspondence, sketchbooks, slides, set designs and writings.
REEL 1829: A resume; 7 sketchbooks, with photographs of models and of finished paintings; sketches; set designs for James Clouser's SPACE/DANCE/THEATRE; correspondence and two essays by Randolph about Houston's Contemporary Art Museum; notebook pages with philosophical quotations and comments on art; and a clipping.
UNMICROFILMED: Eight slides of paintings.
Microfilm reel 1829 available for use at the Museum of Fine Arts, Houston and through interlibrary loan.
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1 partial Microfilm Reels
Lynn Moore Randolph was born in New York City, NY in 1938, and raised in Port Arthur, TX. She received her BFA from the University of Texas, Austin in 1961, after which she relocated to Houston, TX, where she currently resides. An active feminist and human rights activist, Randolph often addresses related social in her work, as well as in her life outside of the art world. Randloph refers to her style and work as “metamorphic realism” and her work has been exhibited in over 50 exhibitions. Her paintings hang in numerous prominent permanent collections, such as the National Museum of Women in the Arts in Washington, D.C., the Radcliffe Institute at Harvard University, the Menil Collection, the Museum of Fine Arts, Houston, the San Antonio Museum of Fine Arts, and the Arizona State University Museum of Arts. Her piece, "The Coronation of St. George," was reproduced on the cover of The Nation magazine during the Republican convention in New York in 2004, and "Scenes from Hell" was also published in The Nation in 2007.
Randolph worked in collaboration with cultural critic Donna Haraway from 1990-1996, the fruits of which can be found in Haraway’s Modest Witness Second Millennium: Femaleman Meets Oncomouse, and in collaboration with museum director, Marilyn Zeitlin, in 1993 to organize an exhibition of Salvadoran artists called: "Art Under Duress: El Salvador from 1980 to Present." Randolph has also served as a charter member and chapter president of the Houston's Women's Caucus for Art, an artists board member of the Lawndale Arts Center, and a member of the Women’s Action Coalition. One of Randolph’s current projects involves working with patients and staff at the Palliative Unit in the M.D.Anderson Cancer Center.
Sources: https://legacy.lib.utexas.edu/taro/uhsc/00125/hsc-00125.html https://prabook.com/web/lynn_moore.randolph/774753 https://snaccooperative.org/view/53396034
AAA online guide at https://www.aaa.si.edu/collections/lynn-moore-randolph-papers-8358.
Material on reel 1829 lent for microfilming and unfilmed slides donated by Randolph, 1979, as part of the Archives of American Art's Texas project. Reel 1829: Originals returned to the lender, Lynn M. Randolph, after microfilming.
Note: The Lynn Moore Randolph papers were microfilmed for the Texas Art Project at the Museum of Fine Arts, Houston as part of the Smithsonian Institution's Archives of American Art. Currently the papers can be accessed on microfilm at the MFAH. The University of Houston Libraries and the Museum of Fine Arts, Houston are digitizing these papers as part of a collaborative TexTreasures 2020 grant project through the Texas State Library and Archives Commission (TSLAC) with funding from the U.S. Institute of Museum and Library Services (IMLS).When digitization is complete, these papers will be made available online through UH Libraries and MFAH websites.
The University of Houston Libraries Special Collections holds the Lynn Randolph papers.