This collection is located on-site.
This collection has no restrictions.
The collection comprises materials authored by D'Arcy Hayman, including letters, invitations, essays, poetry, drawings, photographs, three monographs, proofs for one monograph, journals, and three scrapbooks. The three scrapbooks are referred to as 1, 2, and 3 (1 is a photo album, while 2 and 3 contain miscellanies: essays, drawings, poems, cards, photos, newsletters, conference materials, air travel documents, clippings, post-cards, festive cup holders, and a one-act play).
Arranged in 8 series.
You will need to make an appointment in advance to use this collection material in the Rare Book and Manuscript Library reading room. You can schedule an appointment once you've submitted your request through your Special Collections Research Account.
This collection is located on-site.
This collection has no restrictions.
Single photocopies may be made for research purposes. The RBML maintains ownership of the physical material only. Copyright remains with the creator and his/her heirs. The responsibility to secure copyright permission rests with the patron.
Identification of specific item; Date (if known); D'Arcy Hayman papers; Box and Folder; Rare Book and Manuscript Library, Columbia University Library.
Materials may have been added to the collection since this finding aid was prepared. Contact rbml@columbia.edu for more information.
Source of acquisition--Gift of the estate of D'Arcy Hayman. Date of acquisition--January 2003.
Columbia University Libraries, Rare Book and Manuscript Library
Processed by Jason W. Stevens and Patrick Lawlor, January-March 2004.
2010-02-11 Legacy finding aid created from Pro Cite.
2019-05-20 EAD was imported spring 2019 as part of the ArchivesSpace Phase II migration.
D'Arcy Hayman was for twenty years the International Arts Program director for UNESCO (1960-1980). She was also a teacher, a painter and a writer whose monographs include Embrace Me Universe and The Calculus Virgin. Born in 1924 Hayman majored in the Arts at the University of California in Los Angeles UCLA where she received her B. A. in 1949 and her M. A. in 1952. Realizing her desire to be an art instructor she went on to receive her Ph. D. and her Ed. D. from Columbia University. Hayman continued to teach art even after she joined UNESCO and in 1978 UCLA recognized her service with an Alumni Award Professional Achievement Award. During her years at UNESCO Hayman assisted the governments of the 147 Member States in promoting the arts through education international conferences television film and financial support. She worked with such luminaries as Picasso, Buckminster Fuller, Jean Cocteau, King Vidor, J. L. Borges, and Samuel Becket for multi-cultural arts highlighting special projects poster travels. She also had the opportunity to meet such illustrious personages as Eleanor Roosevelt and Ezra Pound. Among her theories is the concept that the cultural environment to which the arts contribute invaluably is as important to human survival and progress as the physical environment. After her retirement from UNESCO Hayman dedicated herself to her drawings and poetry. She has left a legacy in education the School of Arts and Architecture at UCLA has established a D'Arcy Hayman Fund and also a D'Arcy Hayman Scholarship while Santa Monica College has dedicated its Art Center which provides studio spaces for instruction in drawing and painting to Hayman s namesake.
Box 1 Folder 1
Box 1 Folder 2
Box 1 Folder 3
[Hayman regarded her invitations as works of art, with decorated borders, drawings, and calligraphy. Interestingly, perhaps because she regarded them as artwork, Hayman saved only her own writings to correspondents. There are no letters or invitations "to D'Arcy Hayman" in the collection. ]
Poems are arranged in order by date (where available), so please do not disturb the sequence. The first poem in Box 2, Folder 8, was later included by its subject, Buckminster Fuller, in his book Synergistic Stew. Most of Hayman's poems, like her invitations, are decorated with illustrations and calligraphy. She uses this method of presentation - combining word and image - in her collection from 1969, Embrace Me Universe.
Box 1 Folder 4
Box 1 Folder 5
Box 2 Folder 6
Box 2 Folder 7
Box 2 Folder 8
Box 2 Folder 9
Box 2 Folder 10
Note to 530 and 531: These are the original pages of the scrapbook in numbered order to preserve the unity of the artifact. Where possible, elements in need of preservation were removed to other parts of collection, including Box 3 and logically cross-referenced with the folders in these flat boxes. The reader will want to pay special attention to the drawings from Hayman's art classes at UCLA. By contrast, with her later abstract and primitivist work, many of these college drawings are modeled on fashion magazine art
Box 3 Folder 11
Box 3 Folder 12
Box 3 Folder 13
Flat Box 530 Folder 1
Flat Box 530 Folder 2
Flat Box 531 Folder 3
Flat Box 531 Folder 4
Box 3 Folder 14
Box 3 Folder 15
Box 3 Folder 16
Box 3 Folder 17
Box 3 Folder 18
Box 4 Folder 19
Box 4 Folder 20
Box 4 Folder 21
Box 4 Folder 22
Box 4 Folder 23
Box 4 Folder 24
Box 5 Folder 26
Box 5 Folder 27
Box 5 Folder 28
Box 5 Folder 29
Box 5 Folder 30
Box 5 Folder 31
[The Apollo journal (folder 31), containing Hayman's reflections on Buckminster Fuller, Religion, and Space Travel, is included here because it is continuous with the Japan journal in the original ordering. The pages in these folders have been numbered to preserve the sequence of materials as they originally appeared in the journals. Please do not disturb the sequence.]
Box 6 Folder 32
Box 6 Folder 33
Box 6 Folder 34
Box 6 Folder 35
Box 6 Folder 36
[Pages in Folder 36-39 are numbered to preserve the unity of their original arrangement. When numbering is continuous across folders, this indicates that all the drawings in the sequence were originally bound together. Please do not disturb the order]
Box 6 Folder 37
[Pages in Folder 36-39 are numbered to preserve the unity of their original arrangement. When numbering is continuous across folders, this indicates that all the drawings in the sequence were originally bound together. Please do not disturb the order]
Box 6 Folder 38
[Pages in Folder 36-39 are numbered to preserve the unity of their original arrangement. When numbering is continuous across folders, this indicates that all the drawings in the sequence were originally bound together. Please do not disturb the order]
Box 6 Folder 39
[Pages in Folder 36-39 are numbered to preserve the unity of their original arrangement. When numbering is continuous across folders, this indicates that all the drawings in the sequence were originally bound together. Please do not disturb the order]
Box 6 Folder 40
Flat Box 532
Box 7 Folder 41
Box 7 Folder 41
Box 7 Folder 41
Box 7 Folder 41
Box 7 Folder 41
Box 7 Folder 41
Box 7 Folder 42
Box 7 Folder 43
Box 7 Folder 43
Flat Box 533 Folder 5
[All photos were removed from D'Arcy Hayman's Scrapbooks, including one (Scrapbook #1) devoted entirely to photos. Some personages were identifiable (see photographs above). The photocopies of the photographs have been numbered and arranged to preserve their original sequence in the scrapbooks. Do not disturb the sequence.]
Box 8
Box 8
Box 8
Box 9 Folder 44
[Pages in these folders have been numbered and arranged in folders to preserve the sequence of materials as they originally appeared at each stage of Hayman's planning for the book. Please do not disturb the sequence. The drawings in these folders can also be viewed in Monographs - Box 8, published version ofEmbrace Me Universe]
Box 9 Folder 45
Box 9 Folder 46
Box 9 Folder 47
Box 9 Folder 48
Box 9 Folder 49
Box 9 Folder 50
Box 9 Folder 51
Box 9 Folder 52
(Accession 2019.2020.M088. Gift of Kaye Spilker)
Box 10 Folder 53
(Original ink drawings reproduced using an Ozolith process).
Box 10 Folder 54
With his 2 page "Inventory of the D'Arcy Hayman Archive").
Box 10 Folder 55
Box 10 Folder 56
Box 10 Folder 57
Box 10 Folder 58
Box 10 Folder 59
Box 10 Folder 60
Box 10 Folder 61