{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=drawings+%28visual+works%29\u0026f%5Bdate_range%5D%5B%5D=1971","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=drawings+%28visual+works%29\u0026f%5Bdate_range%5D%5B%5D=1971\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":3,"first_page?":true,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1","type":"collection","attributes":{"title":"Jack R. Levien papers, 1960/1999","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1","ead_ssi":"viu_repositories_3_resources_1","_root_":"viu_repositories_3_resources_1","_nest_parent_":"viu_repositories_3_resources_1","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/1","title_ssm":["Jack R. Levien papers"],"title_tesim":["Jack R. Levien papers"],"unitdate_ssm":["1960-1999"],"unitdate_inclusive_ssm":["1960-1999"],"normalized_date_ssm":["1960/1999"],"normalized_title_ssm":["Jack R. Levien papers, 1960/1999"],"text":["Jack R. Levien papers, 1960/1999","MSS 15241","Archival Resource Key","/repositories/3/resources/1","Book design.","Miniature books.","drawings (visual works)","letters (correspondence)","photographs","Albert and Shirley Small Special Collections Library","Levien, Jack R.","English"],"collection_title_tesim":["Jack R. Levien papers, 1960/1999"],"collection_ssim":["Jack R. 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Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_996#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_996","ead_ssi":"viu_repositories_3_resources_996","_root_":"viu_repositories_3_resources_996","_nest_parent_":"viu_repositories_3_resources_996","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_996.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120842","title_filing_ssi":"Vogt, Petra, papers","title_ssm":["Petra Vogt papers"],"title_tesim":["Petra Vogt papers"],"unitdate_ssm":["1966-1978"],"unitdate_inclusive_ssm":["1966-1978"],"normalized_date_ssm":["1966/1978"],"normalized_title_ssm":["Petra Vogt papers, 1966/1978"],"text":["Petra Vogt papers, 1966/1978","MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996","Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)","Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries","Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials.","Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank).","Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.","Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).","This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira","English\n      Nepali\n      German"],"collection_title_tesim":["Petra Vogt papers, 1966/1978"],"collection_ssim":["Petra Vogt papers, 1966/1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"unitid_tesim":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"geogname_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"places_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"creator_ssm":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_persname_ssim":["Vogt, Petra","Cohen, Ira"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"creators_ssim":["Vogt, Petra","Cohen, Ira","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"acqinfo_ssim":["The Petra Vogt papers were purchased by the University of Virginia Special Collections Library from Granary Books, Inc. on September 21, 2020."],"access_subjects_ssim":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"access_subjects_ssm":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials."],"extent_ssm":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"extent_tesim":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"genreform_ssim":["poetry","Black-and-white photographs","drawings (visual works)","diaries"],"date_range_isim":[1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"accessrestrict_html_tesm":["\u003cp\u003eMost of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.\u003c/p\u003e","\u003cp\u003eThe bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank)."],"arrangement_html_tesm":["\u003cp\u003eMaterials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.\u003c/p\u003e","\u003cp\u003eThis arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series."],"bioghist_html_tesm":["\u003cp\u003eMuch of this biographical and historical information was taken from the dealer description of the collection. \u003c/p\u003e","\u003cp\u003ePetra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). \u003c/p\u003e","\u003cp\u003eIn 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"\u003c/p\u003e","\u003cp\u003eWhile Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. \u003c/p\u003e","\u003cp\u003eDuring the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  \u003c/p\u003e","\u003cp\u003eIra Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. \u003c/p\u003e","\u003cp\u003eThis produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. \u003c/p\u003e","\u003cp\u003eKathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.\u003c/p\u003e","\u003cp\u003eBefore 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" \u003c/p\u003e","\u003cp\u003eMacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)\u003c/p\u003e","\u003cp\u003eIn Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018)."],"prefercite_html_tesm":["\u003cp\u003ePetra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Petra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"persname_ssim":["Vogt, Petra","Cohen, Ira"],"names_coll_ssim":["Vogt, Petra","Cohen, Ira"],"names_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira"],"language_ssim":["English\n      Nepali\n      German"],"total_component_count_is":81,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:54:27.406Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_996","ead_ssi":"viu_repositories_3_resources_996","_root_":"viu_repositories_3_resources_996","_nest_parent_":"viu_repositories_3_resources_996","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_996.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120842","title_filing_ssi":"Vogt, Petra, papers","title_ssm":["Petra Vogt papers"],"title_tesim":["Petra Vogt papers"],"unitdate_ssm":["1966-1978"],"unitdate_inclusive_ssm":["1966-1978"],"normalized_date_ssm":["1966/1978"],"normalized_title_ssm":["Petra Vogt papers, 1966/1978"],"text":["Petra Vogt papers, 1966/1978","MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996","Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)","Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries","Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials.","Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank).","Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.","Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).","This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira","English\n      Nepali\n      German"],"collection_title_tesim":["Petra Vogt papers, 1966/1978"],"collection_ssim":["Petra Vogt papers, 1966/1978"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"unitid_tesim":["MSS .16480","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/996"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"geogname_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"places_ssim":["Living Theatre (New York, N.Y.)","Kathmandu (Nepal)","Spirituality--Hinduism","Spirituality--Buddhism","Bardo Matrix (Firm)"],"creator_ssm":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_ssim":["Vogt, Petra","Cohen, Ira","Bardo Matrix (Firm)"],"creator_persname_ssim":["Vogt, Petra","Cohen, Ira"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"creators_ssim":["Vogt, Petra","Cohen, Ira","Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"acqinfo_ssim":["The Petra Vogt papers were purchased by the University of Virginia Special Collections Library from Granary Books, Inc. on September 21, 2020."],"access_subjects_ssim":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"access_subjects_ssm":["Counterculture","Photographers","collage","small presses","hippies","prints","poetry","Black-and-white photographs","drawings (visual works)","diaries"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good. Collection apparently stored in a basement but no active mold. Some oversize materials were folded but these have been put in oversize folders or boxes and a few had preservation attention. Mylar L-sleeves have been used to protect some fragile materials."],"extent_ssm":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"extent_tesim":["4.09 Cubic Feet 5 legal document boxes, 2 letter document boxes, 2 oversize folders (2 x 3 feet and 14 x 18 inches), and 2 oversized boxes."],"genreform_ssim":["poetry","Black-and-white photographs","drawings (visual works)","diaries"],"date_range_isim":[1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"accessrestrict_html_tesm":["\u003cp\u003eMost of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.\u003c/p\u003e","\u003cp\u003eThe bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank). \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Most of the collection is open for research. The single exception is a bank book for an account owned by Petra Vogt.","The bank book belonging to Petra Vogt, 1977-1978, has been removed and restricted until her death. It has been placed in the control folder for this collection in a sealed envelope. The bank book is from the Bayerische Hypotheken- und Wechsel-Bank (short form: Hypo-Bank)."],"arrangement_html_tesm":["\u003cp\u003eMaterials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.\u003c/p\u003e","\u003cp\u003eThis arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Materials arrived organized by the dealer into the following four series and additional subseries: Series I. Correspondence; Series II. Petra Vogt files; Subseries II.1 Notebooks; Subseries II.2 Artworks and artist files; Subseries II.3 Collage files Series III. Ira Cohen and Bardo Matrix; Subseries III.1 Ira Cohen materials; Subseries III.2 Bardo Matrix publications; Subseries III.3 Flyers, ephemera, broadsides; Series IV Photographs.","This arrangement has been simplified into three series, 1) Volumes, Journals and Notebooks, chiefly by Petra Vogt; 2) Correspondence, Artwork and Topical Files; and 3) Photographs, chiefly by Ira Cohen. These series contain oversize materials that have been placed in more appropriate containers but are listed in the appropriate series."],"bioghist_html_tesm":["\u003cp\u003eMuch of this biographical and historical information was taken from the dealer description of the collection. \u003c/p\u003e","\u003cp\u003ePetra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002). \u003c/p\u003e","\u003cp\u003eIn 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"\u003c/p\u003e","\u003cp\u003eWhile Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic. \u003c/p\u003e","\u003cp\u003eDuring the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.  \u003c/p\u003e","\u003cp\u003eIra Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects. \u003c/p\u003e","\u003cp\u003eThis produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard. \u003c/p\u003e","\u003cp\u003eKathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.\u003c/p\u003e","\u003cp\u003eBefore 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\" \u003c/p\u003e","\u003cp\u003eMacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)\u003c/p\u003e","\u003cp\u003eIn Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018).\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Much of this biographical and historical information was taken from the dealer description of the collection.","Petra Vogt was born in Berlin, Germany, in 1943, during a particularly devastating year of World War Two airstrikes on the city. She took acting classes in Munich and then returned to Berlin, where she saw The Living Theatre for the first time and decided to join the group in 1962. She traveled and performed extensively with The Living Theatre, including in the performance, \"Paradise Now.\" She met Ira Cohen at its New Haven show (phone conversation between Ira Cohen and Carey Loren, which was transcribed on \"Blastitude, Eternity Blast Special,\" no. 13. August 2002).","In 1971, Vogt and Cohen finally landed in Kathmandu, after extensive traveling through Morocco, Tunisia, Afghanistan, and India. Living in Kathmandu from around 1972 to 1978, Vogt was an artistic, photographic, and social muse to partner Cohen, as well as Nepali hippies including Jimmy Thapa and Trilochan Shrestha.  While in Nepal, she produced numerous notebooks of poetry, diaries, and artworks, while illustrating Bardo Matrix Starstreams publications, as well as Cohen's work, including \"Poems from the Cosmic Crypt.\"","While Vogt is peripherally featured in the archives of Ira Cohen, Angus MacLise, Dana Young, and other Bardo Matrix collaborators, her own contributions to this important facet of the countercultural poetics scene are significantly understudied. While Mark Liechty's \"Far Out: Countercultural Seekers and the Tourist Encounter in Nepal\" (University of Chicago Press, 2017), acknowledges her centrality to the scene and describes her role in organizing events, performances, and generally contributing to the dramatically-dressed scene in Kathmandu, no further articles or monographs solidify the contributions of her writings, artworks, or aesthetic.","During the 1970s, Vogt was known for her foreboding dark outfits and makeup; her aesthetic marks her as an unheralded progenitor of goth style, which began to be codified in music scenes around the same time. Photographs of her from her time in Nepal in the 1970s were featured in a recent Photo Kathmandu festival in 2018. She continues to write and make art under a different name in Germany.","Ira Cohen (1935–2011) was a noted poet, publisher, filmmaker, and photographer, known especially for his Mylar photographs, which he created between 1968 and 1971 in New York City. These works were inspired by Jack Smith and Bill Devore's black light experimentation, and required subjects to enter his \"Mylar Chamber,\" a makeshift room comprised of the reflective film, which Cohen would then photograph to produce distorted and psychedelic images of his subjects.","This produced iconic images that Life magazine in 1969 said captured the \"euphoric distortions of hallucinogenics\" during the countercultural era, with participants such as Jimi Hendrix, William Burroughs, Jack Smith, Brion Gysin, Angus MacLise, Paul Bowles, and Petra Vogt, among many others. These photographs have been exhibited in the 2006 \"Summer of Love\" exhibition organized by the Tate Liverpool and featured at the Whitney Museum, and are the subject of a new book, \"Ira Cohen: Into the Mylar Chamber\" which was published by Fulgar Press in 2019 with text by Ira Cohen, Timothy Baum, Ian MacFadyen, Alice Farley, Ira Landgarten, and Thurston Moore, and edited by Allan Graubard.","Kathmandu, Nepal, held a vibrant expatriate community of poets, musicians, artists, and spiritual seekers in the 1970s, in large part due to the Bardo Matrix collective — a group that began in Boulder, Colorado as The Experimental Cinema Group, and initially included Angus MacLise, John Chick, Dana Young, and Ira Cohen. Bardo Matrix Press, and especially the Starstreams Poetry Series, created collaborations with Beat and countercultural poets and local artisans to produce books informed by traditional Nepali and Tibetan traditions, sharing new poetic ideas.","Before 1971, when Ira Cohen and Petra Vogt arrived, a small group of expatriates had already become involved making woodblock prints to sell to tourists. Cohen recounts the presence of Ian Alsop, Francis Brooks, and Simon White, who \"were to play an important role in the development of small press publications by myself, my old friend and comrade, poet-calligrapher, Angus MacLise, and other poets who quickly formed a community in the Kathmandu Valley.\"","MacLise's work with Piero Heliczer on Dead Language Press, \"making unique books from tree bark or fashioning long horizontal handmade books after the Tibetan or Indian style,\" proved influential: it was Angus who, \"working with local craftsmen and woodblock artists, really began the great rice paper adventure.\" (Ira Cohen, \"The Great Rice Paper Adventure: Kathmandu, 1971–1977.\" New Observations no. 106, May/June 1995. Online at Big Bridge, no. 5.)","In Kathmandu, on so-called \"Freak Street\" or Jhocchen Tole, John Chick opened a bookshop named \"The Spirit Catcher.\" The shop was open around 1972–1979, and provided a weekly forum for poetry readings, music, and community. This shop cemented the centrality of the roles of Vogt, Cohen, Chick, and MacLise in the countercultural community abroad, and became both a tourist and local destination (Prawash Gautam, \"How a used bookstore in Kathmandu's Jhochhen captured the spirit of the hippie movement,\" \"The Kathmandu Post,\" December 18, 2018)."],"prefercite_html_tesm":["\u003cp\u003ePetra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Petra Vogt papers, MSS 16480, 1966-1978, Special Collections, University of Virginia Library, Charlottesville, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains journals, artworks, correspondence, and photographs that illuminate the life and work of Petra Vogt, a poet, actress, artist, and model, known for her involvement with the Living Theatre, Ira Cohen, and the Bardo Matrix Press during the 1960s and 1970s. Of particular interest are thirty-four journals, chiefly by Petra Vogt, with poetry, prose works, diary entries, and intricate rapidograph drawings along with collage, paintings, and other artworks within; about 150 artworks by Vogt, as well as handmade books of Ira Cohen's photographs and collage, 850 photographs by Ira Cohen, including those from his Mylar photography series and 60 pieces of correspondence and post cards addressed to Vogt and Cohen."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)"],"persname_ssim":["Vogt, Petra","Cohen, Ira"],"names_coll_ssim":["Vogt, Petra","Cohen, Ira"],"names_ssim":["Albert and Shirley Small Special Collections Library","Bardo Matrix (Firm)","Vogt, Petra","Cohen, Ira"],"language_ssim":["English\n      Nepali\n      German"],"total_component_count_is":81,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:54:27.406Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_996"}},{"id":"viu_repositories_3_resources_1209","type":"collection","attributes":{"title":"Warren Chappell papers, 1929/2000","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1209#creator","type":"document_value","attributes":{"value":"Chappell, Warren, 1904-1991","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1209#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThese additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1209#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1209","ead_ssi":"viu_repositories_3_resources_1209","_root_":"viu_repositories_3_resources_1209","_nest_parent_":"viu_repositories_3_resources_1209","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1209.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/137802","title_filing_ssi":"Chappell, Warren, papers","title_ssm":["Warren Chappell papers"],"title_tesim":["Warren Chappell papers"],"unitdate_ssm":["1929-2000"],"unitdate_inclusive_ssm":["1929-2000"],"normalized_date_ssm":["1929/2000"],"normalized_title_ssm":["Warren Chappell papers, 1929/2000"],"text":["Warren Chappell papers, 1929/2000","MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209","drawings (visual works)","photographs","letters (correspondence)","The collection is open for research use.","American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center.","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991.","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell","These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.","Copies of materials from other institutions cannot be reproduced.","Albert and Shirley Small Special Collections Library","Chappell, Warren, 1904-1991","English"],"collection_title_tesim":["Warren Chappell papers, 1929/2000"],"collection_ssim":["Warren Chappell papers, 1929/2000"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209"],"unitid_tesim":["MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Chappell, Warren, 1904-1991"],"creator_ssim":["Chappell, Warren, 1904-1991"],"creator_persname_ssim":["Chappell, Warren, 1904-1991"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Chappell, Warren, 1904-1991","Albert and Shirley Small Special Collections Library"],"access_terms_ssm":["Copies of materials from other institutions cannot be reproduced."],"acqinfo_ssim":["This collection has many additions. It was a gift from Janet Anderson, Shelah Kane Scott, and Lydia Andrea Hatfield, to the Small Special Collections Library at the University of Virginia Library on December 11, 2012, September 16, 2019, and November 18,2022. Part of this collection was formed by private collector Calvin Otto and then became the property of Frances and Jim Cileti before it was purchased by the library on November 12, 2019."],"access_subjects_ssim":["drawings (visual works)","photographs","letters (correspondence)"],"access_subjects_ssm":["drawings (visual works)","photographs","letters (correspondence)"],"has_online_content_ssim":["false"],"extent_ssm":["3 Cubic Feet 6 document boxes and 4 oversize folders"],"extent_tesim":["3 Cubic Feet 6 document boxes and 4 oversize folders"],"genreform_ssim":["drawings (visual works)","photographs","letters (correspondence)"],"date_range_isim":[1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eAmerican illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. \u003c/p\u003e","\u003cp\u003eMr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026amp; Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.\u003c/p\u003e","\u003cp\u003eAmong the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).\u003c/p\u003e","\u003cp\u003eHe kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991. \u003c/p\u003e","\u003cp\u003eSources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html\u003c/p\u003e","\u003cp\u003eFor more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center.","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991.","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell"],"scopecontent_html_tesm":["\u003cp\u003eThese additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. There are also personal and professional photographs and negatives; drawings and cartoons, and assorted ephemera and publications."],"userestrict_html_tesm":["\u003cp\u003eCopies of materials from other institutions cannot be reproduced.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Copies of materials from other institutions cannot be reproduced."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Chappell, Warren, 1904-1991"],"names_ssim":["Albert and Shirley Small Special Collections Library","Chappell, Warren, 1904-1991"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":90,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:53:24.943Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1209","ead_ssi":"viu_repositories_3_resources_1209","_root_":"viu_repositories_3_resources_1209","_nest_parent_":"viu_repositories_3_resources_1209","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1209.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/137802","title_filing_ssi":"Chappell, Warren, papers","title_ssm":["Warren Chappell papers"],"title_tesim":["Warren Chappell papers"],"unitdate_ssm":["1929-2000"],"unitdate_inclusive_ssm":["1929-2000"],"normalized_date_ssm":["1929/2000"],"normalized_title_ssm":["Warren Chappell papers, 1929/2000"],"text":["Warren Chappell papers, 1929/2000","MSS 10204","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/1209","drawings (visual works)","photographs","letters (correspondence)","The collection is open for research use.","American illustrator, book and type designer, and author, Warren Chappell was born in Richmond, Virginia in 1904, and took his Bachelor of Arts degree from the University of Richmond. His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center.","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. In 1978, Chappell moved to Charlottesville, Virginia, where he became the Artist-in-Residence at the University of Virginia. He died on March 26, 1991.","Sources:\n\"Warren Chappell, Illustrator, Teacher And Artist, 86, Dies\", The New York Times. Accessed 3/2/2022\nhttps://www.nytimes.com/1991/03/29/obituaries/warren-chappell-illustrator-teacher-and-artist-86-dies.html","For more information:\n\"Warren Chappell.\" Wikipedia. Acessed 3/2/2022\nhttps://en.wikipedia.org/wiki/Warren_Chappell","These additions of MSS 10204 Warren Chappell papers contain letters, drawings, photographs, ephemera, and publications documenting the life and work of Warren Chappell from roughly 1929 to 2000. Janet Anderson, Shelah Kane Scott, and Calvin Otto were recipients and owners of the collections. The bulk of the collection is correspondence with colleagues, family, and friends including his wife Lydia Chappell. There is significant amounts of correspondence with Rafael Fernandez, Curator of Prints and Drawings at the Clark Art Institute at Williamstown, Massachusettes; and correspondence with the staff at the University of Virginia. 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His formal art training began at the Art Students League in New York. He was on the Board of the Art Students League from 1927-1931, but left to study for a year under Rudolf Koch at his Offenbacher Werkstatt in Germany. In 1932, Chappell returned to New York, established his own studio and taught at the Art Students League. For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center. \u003c/p\u003e","\u003cp\u003eMr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026amp; Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). 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For about fifteen months in 1935-1936, he studied with Boardman Robinson at the Colorado Springs Fine Arts Center.","Mr. Chappell illustrated books for several publishing houses, including Alfred A. Knopf, Random House, Harper \u0026 Row, Doubleday and Little, Brown. His own books included \"The Anatomy of Lettering\" (1935), \"A Short History of the Printed Word\" (1970) and \"The Living Alphabet\" (1975). He also designed two typefaces, Lydian and Trajanus.","Among the books he illustrated were editions of Jonathan Swift's \"Tale of a Tub\" (1930), Leighton Barret's retelling of Cervantes' \"Don Quixote de la Mancha\" (1939), Mark Twain's \"Connecticut Yankee in King Arthur's Court\" (1942), Henry Fielding's \"Tom Jones\" (1943), Herman Melville's \"Moby-Dick\" (1976) and Robert Penn Warren's \"All the King's Men\" (1981).","He kept his studio in New York until 1951 when he moved to Norwalk, Connecticut. 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