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Reuben Tam papers

Creator:
Tam, Reuben  Search this
Names:
Alan Gallery (Charles Alan)  Search this
Brooklyn Museum of Art  Search this
Coe Kerr Gallery  Search this
Downtown Gallery (New York, N.Y.)  Search this
John Simon Guggenheim Memorial Foundation  Search this
Skowhegan School of Painting and Sculpture  Search this
Andrews, Dorothy, 1918-2008  Search this
Kienbusch, William, 1914-1980  Search this
Nesjar, Carl, 1920-  Search this
Solomon, Hyde, 1911-  Search this
Extent:
8.1 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Date:
1931-2006
Summary:
The papers of landscape painter and educator Reuben Tam measure 8.1 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks.
Scope and Contents:
The papers of landscape painter and educator Reuben Tam measure 8.1 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks.

Biographical material includes school documents, records of his tenure as an instructor at the Brooklyn Museum of Art School, artwork consignment and sales records, and slides and accompanying audio cassette recording of the "Reuben Tam Show" about his work as an artist on Monhegan Island, Maine.

Correspondence is with family, fellow artists, including William Kienbusch and Hyde Solomon, as well as art organizations, schools, and museums, such as Brooklyn Museum of Art School, Guggenheim Memorial Foundation, Maine Coast Artists group, and the Skowhegan School of Painting and Sculpture. Also found is correspondence with the three galleries which represented his work: Downtown Gallery, Alan Gallery, and Coe Kerr Gallery.

The collection includes five bound diaries as well as diary entries written by Reuben Tam on loose sheets of paper, primarily documenting the 1940s. Other writings include drafts of poetry, one notebook, miscellaneous notes, and essays by others.

Printed material consists of school publications, exhibition catalogs and announcements for solo and group shows, brochures, flyers, magazines, bulletins, and news clippings. Eight scrapbooks found in this collection also include newspaper clippings, exhibition announcements and catalogs, as well as event invitations, membership cards, and letters, documenting 40 years of Reuben Tam's career.

Photographs are of Reuben Tam, Tam with friends and family, and artwork. One photograph album contains photographs from Tam's visits to Maine from 1946 to 1948, and includes photographs of fellow artists Hyde Solomon, Carl Nesjar, Dorothy Andrews, and William Kienbusch. Artwork in the collection includes prints, drawings, and watercolors as well as seventeen large sketchbooks documenting the coastal landscape of Monhegan Island, Maine.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1934-1993 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1931-2006 (Box 1-4; 3.5 linear feet)

Series 3: Diaries, 1932-1974 (Box 4-5; 0.4 linear feet)

Series 4: Writings, 1939-1987 (Box 5; 7 folders)

Series 5: Printed Material, 1935-1997 (Box 5-6, 9; 1.2 linear feet)

Series 6: Photographs, circa 1930-1990 (Box 6-7, 9; 1.0 linear foot)

Series 7: Artwork, circa 1936-1975 (Box 7, 9-10, OV 11; 0.7 linear feet)

Series 8: Scrapbooks, 1938-1978 (Box 7-8; 0.9 linear feet)
Biographical / Historical:
Reuben Tam (1916-1991) was a landscape painter and educator in New York, Maine, and Hawaii. Tam was born in Kapaa, Hawaii, in 1916. He received a degree in education in 1937 from the University of Hawaii and was briefly a public school teacher before attending graduate courses at the California School of Fine Arts. In 1941 he moved to New York and took courses in art history and philosophy at the New School for Social Research and Columbia University. Tam became affiliated with the Downtown Gallery in 1945 and was a prolific exhibitor in national and regional shows, winning critical praise as an abstract landscape painter. In 1948 he was awarded a Guggenheim Fellowship and first exhibited in the National Academy's annual exhibition in 1947.

Tam was an instructor at the Brooklyn Museum of Art School from 1946 to 1974. While there he taught advanced studies in painting and was chairman of the graduate painting department. He also served as a visiting professor at Oregon State University, Haystack, and Queens College, CUNY.

Beginning in 1948, Tam and his wife, Geraldine, spent summers at their home and studio on Monhegan Island, Maine. Tam's work was deeply influenced by coastal landscapes both in Maine and in his native Hawaii. In 1981 he and his wife moved back to Kapaa, Hawaii, where he continued to paint and exhibit his new works until his death in 1991.
Related Materials:
Reuben Tam papers, 1958-1966, are also located at Syracuse University.
Provenance:
Scrapbooks were lent for microfilming 1970 by Reuben Tam and were subsequently donated in 2009 along with additional papers by Geraldine King Tam, Reuben Tam's widow.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Reuben Tam papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- Maine  Search this
Painters -- New York (State) -- New York  Search this
Educators -- Hawaii  Search this
Educators -- Maine  Search this
Educators -- New York (State)  Search this
Painters -- Hawaii  Search this
Genre/Form:
Sketchbooks
Sound recordings
Poems
Drafts (documents)
Photographs
Prints
Diaries
Scrapbooks
Watercolors
Drawings
Citation:
Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tamreub
See more items in:
Reuben Tam papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tamreub
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Additional Online Media:

Behind the Apron Interview with William Bourne

Creator:
Anacostia Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
1 sound recording (audio cassette)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Oral histories (document genres)
Interviews
Place:
Maryland
United States
Date:
April 15, 1997
Scope and Contents:
Through an oral history interview, William Bourne talks about his family and growing up, and working on his family's tobacco farm in Calvert County, Maryland. Bourne describes his experience as an oyster shucker for 64 years at the Warren Denton Seafood House (Calvert County, Maryland). He explains the drop in the oyster population and the changes over the years in the oyster shucking industry, including the changing demographics of the industry's workers.
Interview. Part of Behind the Apron oral history project. Dated 19970415.
Biographical / Historical:
Behind the Apron oral history project documents the experiences of Black oyster and clam workers in Southern Maryland. The interviews explore issues such as: the connection between land and water, between farming and the fishing industry; the communal spirit and camaraderie amongst oyster workers; the experience of women oyster workers; and the changes in the oyster packing industry resulting in a diminshed African American workforce. The audio interviews were conducted by Shelia Montague Parker in 1997.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
African Americans -- Employment  Search this
African Americans -- Maryland  Search this
Oyster industry  Search this
Clam industry  Search this
Genre/Form:
Sound recordings
Oral histories (document genres)
Interviews
Citation:
Behind the Apron Interview with William Bourne, Behind the Apron oral history project, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-007.28, Item ACMA AV005265
See more items in:
Behind the Apron: The History, Life, and Hidden Achievements of Southern Maryland's Black Oyster and Clam Workers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-007-28-ref8
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Behind the Apron Interview with William Bourne digital asset number 1
  • View Behind the Apron Interview with William Bourne digital asset number 2

Behind the Apron Interview with Doris Harris

Creator:
Anacostia Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
2 sound recordings (audio cassette)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Oral histories (document genres)
Interviews
Place:
Maryland
United States
Date:
May 12, 1997
Scope and Contents:
Through an oral history interview, Doris Harris talks about growing up in Lusbee, Maryland (Calvert County) with her nine siblings, and her parents' jobs (tobacco farming and housekeeping). Harris explains her work as a clam shucker at Warren Denton Seafood House (Calvert County, Maryland) and the difference between shucking clams and shucking oysters. She also describes her enjoyment for the job, the experience of women oyster workers, and changes in the clam shucking industry, particularly the diminished African American workforce. Both interviews - May 9, 1996 and May 12, 1997 - cover the same topics. The May 12 interview contains a bit more detail.
Interview. Part of Behind the Apron oral history project. Dated 19960509 and 19970512 (transcribed from transcripts).
Biographical / Historical:
Behind the Apron oral history project documents the experiences of Black oyster and clam workers in Southern Maryland. The interviews explore issues such as: the connection between land and water, between farming and the fishing industry; the communal spirit and camaraderie amongst oyster workers; the experience of women oyster workers; and the changes in the oyster packing industry resulting in a diminshed African American workforce. The audio interviews were conducted by Shelia Montague Parker in 1997.
Local Numbers:
ACMA AV005258
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
African Americans -- Employment  Search this
African Americans -- Maryland  Search this
Oyster industry  Search this
Clam industry  Search this
Genre/Form:
Sound recordings
Oral histories (document genres)
Interviews
Citation:
Behind the Apron Interview with Doris Harris, Behind the Apron oral history project, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-007.28, Item ACMA AV005257
See more items in:
Behind the Apron: The History, Life, and Hidden Achievements of Southern Maryland's Black Oyster and Clam Workers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-007-28-ref5
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Behind the Apron Interview with Doris Harris digital asset number 1
  • View Behind the Apron Interview with Doris Harris digital asset number 2
Additional Online Media:

School of Education, undated

Collection Creator:
Fischer, Ann K.  Search this
Fischer, John Lyle, 1923-1985  Search this
Extent:
1 sound tape reel (7 inch)
Container:
Item 74
Type:
Archival materials
Audio
sound tape reels
Date:
undated
Scope and Contents:
Side 1 -- Alor role playing, Dec. 10

Side 2 -- Lepcha, Dec. 17
Collection Restrictions:
Access to psychological tests administered by John and Ann Fischer during their research in Ponape and Japan is restricted. Access to the John L. Fischer and Ann K. Fischer Papers requires an appointment.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
The John L. Fischer and Ann K. Fischer papers, National Anthropological Archives, Smithsonian Institution.
See more items in:
John L. Fischer and Ann K. Fischer papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2013-16-ref819
Additional Online Media:

Exhibition: The D.C. Public Schools Student Art

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
1 sound recording (open reel, 1/4 inch)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Music
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1970s
Scope and Contents:
Footage of the students' artwork in the gallery for the exhibition, The D.C. Public Schools Student Art, held from May 19 until July 21 at the Anacostia Neighborhood Museum. Artwork consists of paintings, drawings, and papier mache illustrating African and African American history and culture.
Exhibition. Part of ACM Museum Events, PR, and Ceremonies Recordings. AV003541: exhibition until 000542 [also on recording: Malcolm X Day, News Program: Police Dogs, Discussion: African Liberation Day]. Undated.
Collection Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
Community museums  Search this
Museums and community  Search this
African Americans  Search this
Children  Search this
Art  Search this
African culture  Search this
Museum exhibits  Search this
Genre/Form:
Sound recordings
Music
Citation:
Exhibition: The D.C. Public Schools Student Art, Record Group AV09-023, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.AV09-023, Item ACMA AV003541
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-av09-023-ref656

Exhibition: The D.C. Public Schools Student Art

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
1 sound recording (open reel, 1/4 inch)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Music
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1970s
Scope and Contents:
Footage of the students' artwork in the gallery for the exhibition, The D.C. Public Schools Student Art, held from May 19 until July 21 at the Anacostia Neighborhood Museum. Artwork consists of paintings, drawings, and papier mache illustrating African and African American history and culture.
Exhibition. Part of ACM Museum Events, PR, and Ceremonies Recordings. AV003541: exhibition until 000542 [also on recording: Malcolm X Day, News Program: Police Dogs, Discussion: African Liberation Day]. Undated.
Collection Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
Community museums  Search this
Museums and community  Search this
African Americans  Search this
Children  Search this
Art  Search this
African culture  Search this
Museum exhibits  Search this
Genre/Form:
Sound recordings
Music
Citation:
Exhibition: The D.C. Public Schools Student Art, Record Group AV09-023, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-023, Item ACMA AV003541
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-023-ref656

Skowhegan School of Painting and Sculpture records

Creator:
Skowhegan School of Painting and Sculpture  Search this
Names:
Bishop, Isabel, 1902-1988  Search this
Cummings, Willard Warren, 1915-1975  Search this
Fortess, Karl E. (Karl Eugene), 1907-1993  Search this
Gonzalez, Xavier, 1898-1993  Search this
Simon, Sidney, 1917-1997  Search this
Extent:
35.42 Linear feet
Type:
Archival materials
Collection descriptions
Sound recordings
Motion pictures (visual works)
Date:
1945-2013
Summary:
The Skowhegan School of Painting and Sculpture records measure 35.42 linear feet and date from 1945 to 2013. The paper records of the school document the period from circa 1945 to 1977 and consist of administrative records, financial records, visiting artist files, faculty files, student files, and photographic material. Also included are motion picture films by Jack Eastman and Karl Fortess, dating from circa 1950 to 1968, showing the school's campus and faculty, staff, and students at work and leisure. A large portion of the collection consists of the Skowhegan Lecture Archives, a sound recording archive of lectures given by artists speaking at the school between 1952 and 2013.
Scope and Contents:
The Skowhegan School of Painting and Sculpture records measure 35.42 linear feet and date from 1945 to 2013. The paper records of the school document the period from circa 1945 to 1977 and consist of administrative records, financial records, visiting artist files, faculty files, student files, and photographic material. Also included are motion picture films by Jack Eastman and Karl Fortess, dating from circa 1950 to 1968, showing the school's campus and faculty, staff, and students at work and leisure., artists, and students. A large portion of the collection consists of the Skowhegan Lecture Archives, a sound recording archive of lectures given by artists speaking at the school between 1952 and 2013.

Administrative records include files for the school's board, exhibitions and benefits, fundraising, government agencies, publicity, and other office files. Financial records consist of accounting procedure documents, bills paid, budgets, student drawing accounts, payroll, real estate expenses, and reports.

Files for visiting artists such as Philip Pearlstein, Yasuo Kuniyoshi, and William Zorach contain correspondence, lecture notes and transcripts, and records regarding the broadcast of artists' lectures. Faculty files consist of correspondence, faculty lists, and other material for Isabel Bishop, Xavier Gonzalez, Sidney Simon, and other faculty members. Student files include alumni records, correspondence, recommendations and rejections, and scholarship material.

Photographs and negatives are of Janet Fish, Paul Rasika, Alice Neel, Bette Davis, Jacob Lawrence, Roy Lichtenstein, faculty and visiting artists, and students at events, lectures, social gatherings, and in class.

Motion picture films include silent, color footage of the school's campus, working faculty and students, and social activities. Footage includes both edited footage and outtakes (footage shot but not used in the edited piece), that form three distinct sets of films from three different periods: 16 mm films from the 1950s, 8 mm films from 1964-1965, and super 8 mm films from 1966-1968. Based on handwritten notes on the original film containers, Karl Fortess was the creator of the 16 mm films, and Jack Eastman was the creator of the 8 mm film. It is unclear who created the super 8 mm films, but some of the footage appears to have been shot by Willard Cummings.
Arrangement:
The collection is arranged as 8 series.

Series 1: Administrative Records, 1945-1977 (Boxes 1-5, 12, OV 13; 5.0 linear feet)

Series 2: Financial Records, 1945-1967 (Boxes 5-8, 12, OV 13; 3.0 linear feet)

Series 3: Visiting Artists Files, 1948-1965 (Boxes 8; 0.5 linear feet)

Series 4: Faculty Files, 1946-1965 (Boxes 8-9; 0.4 linear feet)

Series 5: Student Files, 1946-1964 (Boxes 9-12; 2.0 linear feet)

Series 6: Photographic Materials, 1955-1977 (Boxes 11-12; 0.5 linear feet)

Series 7: Motion Picture Films, circa 1955-1970 (Box 11, film cans FC 13-30; 1.9 linear feet)

Series 8: Skowhegan Lecture Archives, 1952-2013
Biographical / Historical:
Skowhegan School of Painting and Sculpture (est. 1946) is an art school and artist residency in Skowhegan, Maine. Since the school's beginnings, it has attracted prominent visiting artists and faculty members such as Jacob Lawrence, Philip Pearlstein, Ben Shahn, Isabel Bishop, and Yasuo Kuniyoshi.

The school was founded by Willard W. Cummings, Henry Varnum Poor, Sidney Simon, and Charles Cutler. While serving in Europe during World War II on The War Art Unit project, a project that sent artists to battle zones in order to record their impressions, they noticed that the European system of studying art allowed students intimate access to artists, their studios, and creative life. The Skowhegan School founders wanted to create a similar intimacy between students and artists in the U.S. After returning to the U.S., Cummings, Poor, Simon, and Cutler built an art program that included visiting artists and an artist lecture series that enabled students to interact with professional, well-established artists. In 1960, the school's administration was reorganized due to a fire that burned down the barn, which served as a fresco painting studio, and other nearby buildings. The reorganization introduced trustees and other facets of the administration that were needed to sustain the school's funding and operations.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-27-N68-30, N68-78-N68-80, and N68-96-N68-97. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Skowhegan School of Painting and Sculpture records were lent to the Archives of American Art for microfilming in 1968. The Skowhegan School of Painting and Sculpture via Willard Cummings and Jack Eastman donated portions of the lent material from 1968 to 1977. The lecture archive was donated between 2002 to 2014 via the Executive Director.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Skowhegan Lecture Archives: Authorization to publish, quote or reproduce requires written permission from Skowhegan in addition to the copyright holders. A list of copyright holders is available at the Archives of American Art Washington, D.C. office. Transcripts may not be duplicated.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American -- Study and teaching  Search this
Function:
Art Schools -- Maine -- Skowhegan
Genre/Form:
Sound recordings
Motion pictures (visual works)
Citation:
Skowhegan School of Painting and Sculpture records, 1945-2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.skowscho
See more items in:
Skowhegan School of Painting and Sculpture records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-skowscho

The Benjamin Franklin High School Chorus Sings Out

Collection Creator:
Alma Mater Recording Company  Search this
Extent:
2 sound discs (vinyl) (7")
Container:
Box 2
Type:
Archival materials
Sound discs (vinyl)
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Alma Mater Recording Company audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
Alma Mater Recording Co. audio recordings
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-alma-ref25

Jan Butterfield papers

Creator:
Butterfield, Jan  Search this
Names:
Lapis Press  Search this
Pacific Enterprises  Search this
Bell, Larry, 1939-  Search this
Bischoff, Elmer, 1916-1991  Search this
Dugmore, Edward, 1915-  Search this
Francis, Sam, 1923-1994  Search this
Gehry, Frank O., 1929-  Search this
Goode, Joe, 1937-  Search this
Greene, George  Search this
Guston, Philip, 1913-1980  Search this
Harrison, Helen Mayer, 1929-  Search this
Harrison, Newton, 1932-  Search this
Hopkins, Henry, 1928-2009  Search this
Hudson, Robert, 1938-  Search this
Irwin, Robert, 1928-  Search this
Karp, Michael  Search this
Kienholz, Edward, 1927-  Search this
Nauman, Bruce, 1941-  Search this
Nordman, Maria  Search this
Orr, Eric, 1939-1998  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Resnick, Milton, 1917-2004  Search this
Roche, Jim  Search this
Ruscha, Edward  Search this
Shaw, Richard, 1941 Sept. 12-  Search this
Still, Clyfford, 1904-1980  Search this
Turrell, James  Search this
Wheeler, Douglas  Search this
Wortz, E.  Search this
Wortz, Melinda  Search this
Young, R. Joshua  Search this
Interviewee:
Cage, John, 1912-1992  Search this
Extent:
15 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Date:
1950-1997
Summary:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.
Scope and Contents:
The papers of Jan Butterfield measure 15 linear feet and date from circa 1950 to 1997. Papers contain hundreds of recorded interviews with and lectures by artists, panel discussions of artists and art historians, as well as extensive writings by Butterfield. Also found are project files, personal business records, printed materials, photographs, and additional sound and video recordings related to art subjects.

Interviews and Lectures include hundreds of interviews conducted by Butterfield between 1971 and 1987 with contemporary artists about whom she was writing at the time. The artists Robert Irwin and Sam Francis are represented particularly well. Also found are slide talks, class discussions, and lectures given by artists, which are assumed to have been recorded by Butterfield in most cases. Also among the recordings are recorded performances by John Cage, Joe Goode, Newton and Helen Harrison, Jim Roche, and George Greene. Panel discussions include two notable recordings involving Milton Resnick, one with the painter Edward Dugmore in 1959, and the other with the painter Ad Reinhardt at The Club in 1961, which was later dubbed "The Attack."

The bulk of the writings relate to Butterfield's published work The Art of Light and Space, represented here in multiple drafts, research, and photographs of works of art by the artists discussed in the work including Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. Also found are extensive drafts and research for catalog essays for exhibitions of Larry Bell, Richard Shaw, Robert Hudson, and Elmer Bischoff. Drafts of articles and publicity writing are mainly about artists but also some galleries and other art events. There are a few transcripts of recorded interviews, and it appears that many of the writings are based on Butterfield's interviews.

Project files include records relating to Butterfield's involvement with the production of a catalog for the corporate art collection of Pacific Enterprises. These also include additional artist interviews and artist files containing research and writing, mainly by her associate Michael Karp. Also found are photographs and sound recordings for the Waterfront Project at the San Francisco Art Institute, an interdisciplinary community-centered development project that involved Larry Bell, Robert Irwin, Melinda Wortz, Eric Orr, Dr. E. Wortz, Frank Gehry, Newton and Helen Harrison, Josh Young, and students at the Art Institute. And finally, project files include photographs, interviews, and printed material related to publications of Lapis Press, where Butterfield was Executive Director.

Personal business records include correspondence, price lists, financial records, notes, press releases, and career documentation of Butterfield. Printed materials include articles by Butterfield, articles about Butterfield, and articles by Henry Hopkins, most of which are photocopies. There are also clippings, exhibition catalogs, exhibition posters, and publicity. Of note is a disassembled scrapbook pertaining to the controversial Ed Kienholz exhibition at the Los Angeles County Museum of Art in 1966, and a directory of art spaces in Los Angeles from 1978.

Most of the photographs are of works of art by artists about whom Butterfield wrote. Also found are a few files of photographs of artists, some taken by Butterfield, including Philip Guston, Ed Kienholz, Henry Hopkins with Clyfford Still, Robert Irwin, Robert Rauschenberg, and James Turrell. Additional video and sound recordings include artist installations, a documentary on Sam Francis, and an acoustiguide for an Ed Ruscha exhibition.
Arrangement:
This collection is arranged as 7 series.

Series 1: Interviews and Lectures (Boxes 1-5; 4.2 linear feet)

Series 2: Writings (Boxes 5-7, 16, OV 17; 3.7 linear feet)

Series 3: Project Files (Boxes 8-10, 16; 1.6 linear feet)

Series 4: Personal Business Records (Boxes 10-11, OV 17-19; 1.1 linear feet)

Series 5: Printed Materials (Boxes 11-12, 16, OV 17-19; 1.8 linear feet)

Series 6: Photographs (Boxes 12-14, 16; 2.2 linear feet)

Series 7: Sound and Video Recordings (Box 15; 0.4 linear feet)
Biographical / Historical:
Jan Butterfield (1937-2000) was an art writer and critic of contemporary art who spent most of her career in California. She is best known for her writings on late twentieth century installation and craft artists, particularly those who worked in California and the American West.

Butterfield was born Jan Van Alstine in Los Angeles, California in 1937 and attended the Univeristy of California, Los Angeles. She received numerous fellowships and grants from the National Endowment for the Arts as an art critic, and contributed art writing to dozens of exhibition catalogs and art publications including Art International, Images and Issues, Art News, Art in America, and Flash Art. Her most ambitious work of writing was The Art of Light and Space (Abbeville Press: 1993), which profiles the work of contemporary artists Robert Irwin, James Turrell, Maria Nordman, Douglas Wheeler, Bruce Nauman, Eric Orr, Larry Bell, DeWain Valentine, Susan Kaiser Vogel, and Hap Tivey. She was also the author of a 1972 monograph of the Abstract Expressionist painter Sam Francis.

Butterfield held positions in public relations at the Los Angeles County Museum of Art from its opening until 1970, and at the Fort Worth Art Museum from 1970 to 1974. She taught at Northwood Experimental Art Institute in Dallas, Texas, the San Francisco Art Institute, San Jose State University, and Mills College in Oakland, California between 1973 and 1983. At the San Francisco Art Institute, she was Director of the extension program and Coordinator of the visiting artist program and the Waterfront Project between 1976 and 1978. In 1984, Butterfield and the artist Sam Francis co-founded the Lapis Press, where she served as Executive Director from its founding until 1988.

Butterfield was married twice, the second time to Henry Hopkins, Museum Director at LACMA, the Museum of Fine Art of Houston, and the San Francisco Museum of Modern Art. She died in 2000 after an extended illness.
Related Materials:
Also found among the collections of the Archives of American Art is a 1981 panel discussion on Bay area art criticism sponsored by the National Women's Caucus for Art, in which Butterfield participated, as well as an oral history interview Butterfield conducted with Helen Lundeberg for the Archives' Oral History Program in 1980.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1042 including two volumes of scrapbooks. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Jan Butterfield lent material in 1975 for microfilming. She donated the Robert Irwin material in 1980 of and most of the interviews and audio tapes in 1989. An additional 12 feet of papers, including some material previously loaned and microfilmed, along with two additional audio tapes, were donated by Butterfield's brother, and Trustee of the Jan Butterfield Trust, Derek Van Alstine in 2002.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Jan Butterfield papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- California  Search this
Authors -- California -- San Francisco  Search this
Art critics -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Video recordings
Transcripts
Interviews
Scrapbooks
Citation:
Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.buttjan
See more items in:
Jan Butterfield papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buttjan
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Additional Online Media:

870323-870327 Working on Picuris language at Penasco Elementary School

Collection Creator:
Trager, Felicia Harben, 1930-  Search this
Zaharlick, Ann Marie, 1947-  Search this
Trager, George L.  Search this
Extent:
1 sound tape reel (7 inch)
Container:
Box 3, Item 78
Type:
Archival materials
Audio
sound tape reels
Date:
1987 March 23-27
Scope and Contents:
with Tina Tsosie, Margaret Archuleta, Erwin Simbola, Dinah
Collection Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2012-14, File Zaharlick & Trager SR 078
See more items in:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2012-14-ref123
Additional Online Media:

880906 A Working on Picuris language at Penasco Elementary School

Collection Creator:
Trager, Felicia Harben, 1930-  Search this
Zaharlick, Ann Marie, 1947-  Search this
Trager, George L.  Search this
Extent:
1 sound tape reel (7 inch)
Container:
Box 3, Item 81
Type:
Archival materials
Audio
sound tape reels
Date:
1988 September 6
Collection Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2012-14, File Zaharlick & Trager SR 081
See more items in:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2012-14-ref126
Additional Online Media:

730630 Family, work, school conversations in Picuris and English

Collection Creator:
Trager, Felicia Harben, 1930-  Search this
Zaharlick, Ann Marie, 1947-  Search this
Trager, George L.  Search this
Extent:
1 sound tape reel (7 inch)
Container:
Box 2, Item 39
Type:
Archival materials
Audio
sound tape reels
Date:
1973 June 30
Collection Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2012-14, File Zaharlick & Trager SR 39
See more items in:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2012-14-ref59

Behind the Apron Interview with Mary Dawkins

Creator:
Anacostia Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
1 sound recording (audio cassette)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Oral histories (document genres)
Interviews
Place:
Maryland
United States
Date:
circa 1997
Scope and Contents:
Through an oral history interview, Mary Dawkins talks about growing up and being raised by her grandparents in Lusbee, Maryland. She talks about her enjoyment as a clam and oyster shucker and her ability to earn money to send her children to college. Prior to working for Warren Denton Seafood House (Calvert County, Maryland), Dawkins worked as cook for Parrens and as a shucker for Lores, which went out of business. Dawkins describes her experience working as a clam and oyster shucker in detail. She explains the changes in the oyster, clam, and crab industries, particularly the oysters and crabs are smaller and not as plentiful, and the diminished African American workforce. She talks about working with Mexicans and the changing demographics of the employees working at Warren Denton Seafood House.
Interview. Part of Behind the Apron oral history project. Undated.
Biographical / Historical:
Behind the Apron oral history project documents the experiences of Black oyster and clam workers in Southern Maryland. The interviews explore issues such as: the connection between land and water, between farming and the fishing industry; the communal spirit and camaraderie amongst oyster workers; the experience of women oyster workers; and the changes in the oyster packing industry resulting in a diminshed African American workforce. The audio interviews were conducted by Shelia Montague Parker in 1997.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
African Americans -- Employment  Search this
African Americans -- Maryland  Search this
Oyster industry  Search this
Clam industry  Search this
Genre/Form:
Sound recordings
Oral histories (document genres)
Interviews
Citation:
Behind the Apron Interview with Mary Dawkins, Behind the Apron oral history project, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-007.28, Item ACMA AV005256
See more items in:
Behind the Apron: The History, Life, and Hidden Achievements of Southern Maryland's Black Oyster and Clam Workers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-007-28-ref4
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  • View Behind the Apron Interview with Mary Dawkins digital asset number 4
  • View Behind the Apron Interview with Mary Dawkins digital asset number 5
  • View Behind the Apron Interview with Mary Dawkins digital asset number 6

Helen C. Rountree Lecture to Anthropological Society of Washington

Creator:
Rountree, Helen C., 1944-  Search this
Collection Creator:
Rountree, Helen C., 1944-  Search this
Extent:
1 sound cassette (Duration: 120 minutes)
Container:
Item 12
Type:
Archival materials
Audio
sound cassettes
Speeches
Date:
1988 October 18-19
Collection Restrictions:
Materials related to interview notes are restricted until June 2025.
Collection Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation  Search this
Anthropological Society of Washington  Search this
Genre/Form:
Speeches
Collection Citation:
Helen C. Rountree Papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Helen C. Rountree papers
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2005-22-ref37
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  • View Helen C. Rountree Lecture to Anthropological Society of Washington digital asset number 1
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Additional Online Media:

Behind the Apron Interview with Blondell Mason

Creator:
Anacostia Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
2 sound recordings (audio cassette)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Sound recordings
Oral histories (document genres)
Interviews
Place:
Maryland
United States
Date:
1997
Scope and Contents:
Through an oral history interview, Blondell Mason talks about growing up in Baltimore City and then Calvert County, his children, farming, and shucking oysters. Mason describes his experiences working as an oyster shucker for approximately 30 years at the Warren Denton Seafood House (Calvert County, Maryland). Mason was one of the fastest oyster shuckers at the seafood house. In addition to discussing why he enjoyed working as an oyster shucker, he describes the changes over the years in the oyster shucking industry, including the changing demographics of the industry's workers. Mason also talks about a man who tried to form an oyster union to negotiate wages. Both parts one and two of the interview contain the same overall content, but different details.
Interview. Part of Behind the Apron oral history project. Dated 19960417 and 19970417 (transcribed from transcripts).
Biographical / Historical:
Behind the Apron oral history project documents the experiences of Black oyster and clam workers in Southern Maryland. The interviews explore issues such as: the connection between land and water, between farming and the fishing industry; the communal spirit and camaraderie amongst oyster workers; the experience of women oyster workers; and the changes in the oyster packing industry resulting in a diminshed African American workforce. The audio interviews were conducted by Shelia Montague Parker in 1997.
Local Numbers:
ACMA AV005260
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
African Americans -- Employment  Search this
African Americans -- Maryland  Search this
Oyster industry  Search this
Clam industry  Search this
Genre/Form:
Sound recordings
Oral histories (document genres)
Interviews
Citation:
Behind the Apron Interview with Blondell Mason, Behind the Apron oral history project, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-007.28, Item ACMA AV005259
See more items in:
Behind the Apron: The History, Life, and Hidden Achievements of Southern Maryland's Black Oyster and Clam Workers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-09-007-28-ref2
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Additional Online Media:

School Days; If a Girl Like You Loved a Boy Like Me

Recording artist:
Lyn Duddy Swing Choir  Search this
Maker:
MGM  Search this
Physical Description:
shellac (overall material)
Measurements:
overall: 10 in; 25.4 cm
Object Name:
sound recording
Place made:
United States
Date made:
1948
Subject:
Music  Search this
Credit Line:
Gift of Eula W. Wake in Memory of Harry Wake
ID Number:
1981.0656.516
Accession number:
1981.0656
Maker number:
30192
41
Catalog number:
1981.0656.516
See more items in:
Cultural and Community Life: Entertainment
Music & Musical Instruments
Sound Recordings
Popular Entertainment
Family & Social Life
Data Source:
National Museum of American History
EDAN-URL:
edanmdm:nmah_668134
Additional Online Media:

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
43.9 Terabytes
Type:
Archival materials
Collection descriptions
Terabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 43.9 terabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City from 1975 to 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 43.9 terabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City from 1975 to 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Larry Rivers, Sylvia Sleigh, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized the complete collection of video and sound recordings and the digital files are now part of the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 1.8 megabytes, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 44.4 megabytes, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings, circa 1975-2017 (59 linear feet, Boxes 6-65; 43.9 terabytes, ER03-06)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of digitized recordings and other electronic records requires advance notice.
Rights:
The Artists Talk on Art records are owned by the Archives of American Art, Smithsonian Institution. Any literary rights possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, American  Search this
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-artitalk
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Additional Online Media:

Wisdom Lane Junior High School Treble Chorus Presents An Evening of Song

Collection Creator:
Alma Mater Recording Company  Search this
Extent:
1 sound discs (vinyl)
Container:
Box 2
Type:
Archival materials
Sound discs (vinyl)
Date:
Recorded 1962 May 24
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at (202) 633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Alma Mater Recording Company audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
Alma Mater Recording Co. audio recordings
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-alma-ref208

880906 B-880907 Working on Picuris language at Penasco Elementary School

Collection Creator:
Trager, Felicia Harben, 1930-  Search this
Zaharlick, Ann Marie, 1947-  Search this
Trager, George L.  Search this
Extent:
1 sound tape reel (7 inch)
Container:
Box 3, Item 82
Type:
Archival materials
Audio
sound tape reels
Date:
1988 September 6
1988 September 7
Collection Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2012-14, File Zaharlick & Trager SR 082
See more items in:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-2012-14-ref127

Henry P. Whitehead collection

Collector:
Whitehead, Henry P. (Prenton), 1917-2002  Search this
Extent:
156.91 Linear feet (178 boxes)
Type:
Archival materials
Collection descriptions
Pamphlets
Sound recordings
Clippings
Memorabilia
Newspapers
Photographs
Books
Brochures
Date:
1843-2010
bulk 1940-1986
Summary:
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.
Scope and Contents note:
The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.

Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material. There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.

Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.

There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.

The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.

Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.

There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.

Audio recordings include 23 cassette from the Alexandria Church of God.

The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.

The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.

The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.

Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.

Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists. Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.

The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.

There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.

The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.

The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).

The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.

The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio. Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance. Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.

There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.

Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.

The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.

The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.
Arrangement note:
This collection is arranged into four series:

Series 1: Henry P. Whitehead papers Series 2: Howard Theatre Series 3: Tomlinson D. Todd Series 4. Elizabeth B. Delaney
Biographical/Historical note:
Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired. Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.

Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.

Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.

Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.

Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.
Related Materials:
Related archival materials in the Institute on Race Relations records in the Anacostia Community Museum Archives.

This collection also contains artifacts catalogued in the ACM Objects collection.
Provenance:
The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Topic:
Howard Theatre (Washington, D.C.)  Search this
African Americans  Search this
National Negro Congress (U.S.)  Search this
National Council of Negro Women  Search this
Radio broadcasting  Search this
African American neighborhoods  Search this
African American musicians  Search this
Genre/Form:
Pamphlets
Sound recordings
Clippings
Memorabilia -- 20th century
Newspapers
Photographs
Books
Brochures
Citation:
Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.
Identifier:
ACMA.06-042
See more items in:
Henry P. Whitehead collection
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-06-042
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