Spanning 1922 to 1974, the Louis Lozowick Papers comprises correspondence, photographs and reproductions of his artwork, writings, and memorabilia of the Russian-American painter, lithographer, and art critic (1892-1973). While focusing on his professional career, the collection also reveals aspects of Lozowick's personal life, particularly his attachment to his ethnic origins and his political and religious philosophy as a Jewish artist and writer.

Arranged chronologically, the predominantly incoming Correspondence (Box 1) reflects Lozowick's artistic, ethnic, political, and religious associations. Correspondents include art historians and curators (Erwin O. Christensen, Karl Schwarz, Carl Zigrosser) artists (John Taylor Arms, George Biddle, David Burliuk, Marc Chagall, Howard Cook, Arthur Crisp, Stuart Davis, Katherine S. Dreier, Fritz Eichenberg, Ralph Fabri, Fernand Leger, Howard Mandel, Laszlo Moholy-Nagy, Lynd Ward, Max Weber, Art Young); authors (Louis Adamic, Newton Arvin, V. F. Calverton, Waldo Frank, Langston Hughes, Bernhard J. Stern) and editors (Milton A. Abernethy, Jack Conroy, Jay Du Von, Henry Hurwitz, Samuel Putnam). Organizational correspondence includes that of cultural organizations (American Federation of Arts, American Russian Institute, the Municipal Art Committee); galleries and museums (Art Association of Indianapolis, Indiana, Art Institute of Chicago, Berkshire Museum, Museum of Modern Art, Museum Tel-Aviv, New Jersey State Museum, Newark Museum, Norfolk Museum, Oakland Art Gallery, Walker Art Center); governmental agencies (Federal Art Project, U. S. Treasury Department); political groups (Ad Hoc Committee to Lift Ban on The Nation, National Committee to Aid Striking Miners Fighting Starvation); professional organizations (American Society of Painters, Sculptors and Gravers, Artists for Victory, Inc., National Academy of Design, National Society of Painters in Casein, Inc., Society of American Graphic Artists); and a number of publications (Disk, Europa, The Front, The Menorah Journal, New Masses, Opinion, Rebel Poets, Transition). A selected name index to the correspondence follows the box list.

Artwork (Box 1) includes cover art, photographs and reproductions. Cover art consists of a cover for Der Hammer (in Yiddish). Arranged alphabetically by the titles supplied by Lozowick, the photographs range in subject from still-lifes to city-scapes, and from depictions of the laboring class to his hard-edged precisionist work, reflective of the 1920s fascination with machine-age technology. Also included in the collection are a number of photographs of Lozowick's work in the theatre, for which he designed both stage sets and costumes. Among the reproductions of Lozowick's work are those which appeared from 1926 through 1973 in publications as diverse as Creative Art, Harpers Magazine, The London Studio, The Menorah Journal, The Print Collector's Quarterly, and Theatre Arts Monthly.

Among the Writings (Box 2) are both manuscript and published materials. Manuscript writings include "Glossolalia" and several chapters of "Survivor From a Dead Age," autobiographical selections which illuminate Lozowick's childhood in Russia and early education. Published writings include Lozowick's essays on art and the theatre, poetry, and book reviews for Art News, The Menorah Journal, and The Nation.

Memorabilia (Box 2-5) encompasses articles about Lozowick, awards and membership cards, exhibition materials, lecture invitations, and a letter of introduction and photograph identifying Lozowick as a Russian correspondent for the periodical Broom.

The four boxes of exhibition materials (Boxes 2-5) constitute the largest portion of the collection and spans more than fifty years, including announcements, invitations, catalogs, and posters.