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Baruj Salinas papers

Creator:
Salinas, Baruj  Search this
Names:
Amsterdam (Netherlands). Stedelijk Museum  Search this
Rijksmuseum (Netherlands)  Search this
Van Gogh Museum, Amsterdam  Search this
Alejandro, Ramon  Search this
Algaze, Mario Arturo, 1947-  Search this
Armand, Octavio, 1946-  Search this
Calder, Alexander, 1898-1976 -- Photographs  Search this
Carulla, Ramón, 1938-  Search this
Cubiles, Miguel  Search this
Cubiles, Miguel -- Photographs  Search this
Cuevas, José Luis, 1934- -- Photographs  Search this
Estopiñán, Roberto, 1921-  Search this
Ferrer, Joaquin  Search this
Fonts, Marilyn  Search this
Fonts, Marilyn -- Photographs  Search this
Franqui, Camilo  Search this
Franqui, Carlos, 1921-  Search this
Franqui, Carlos, 1921- -- Photographs  Search this
Godoy, Gustavo G.  Search this
Gutierrez, Osvaldo -- Photographs  Search this
Kohler, Elizabeth  Search this
Kohler, Peter  Search this
Linder, Gisele  Search this
Lozano Castro, Alfredo  Search this
Lozano Castro, Alfredo -- Photographs  Search this
Macia, Carlos A., 1951-1994  Search this
McBride, Robert H.  Search this
Miró, Joan, 1893- -- Photographs  Search this
Pau-Llosa, Ricardo  Search this
Riverón, Enrique  Search this
Rodríguez, Bélgica, 1941-  Search this
Roel, Guillermo  Search this
Salinas, Isaac  Search this
Salinas, Rosa  Search this
Samelson, Henry  Search this
Serur, David  Search this
Soriano, Rafael, 1920-  Search this
Tamayo, Rufino, 1899- -- Photographs  Search this
Toonkel, Gail  Search this
Valente, José Angel  Search this
Vidal, Juan -- Photographs  Search this
Ward, Bettie  Search this
Extent:
0.4 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1971-1996
Summary:
The Baruj Salinas papers measure 0.4 linear feet and date from 1971-1996. The collection documents the artist's prolific painting career and his friendships and professional relationships with a variety of contemporary artist in the U.S. and Europe. The papers of Baruj Salinas are an important addition to the documentation of Cuban-American art and artists.
Scope and Content Note:
The Baruj Salinas papers measure 0.4 linear feet and date from 1971-1996. The collection primarily consists of letters from friends and artists. Also found are diary entries, scattered financial and business papers, printed material, and photographs. Of special interest in the last series are photographs taken of a visit to the home and art studio of Spanish artist Joan Miró.
Arrangement:
The collection is arranged as six series.

Series 1: Diary Entries, 1982 (box 1; 1 folder)

Series 2: Letters Received, 1979-1996, undated (box 1; 21 folders)

Series 3: Financial Papers, 1993-1994 (box 1; 1 folder)

Series 4: Printed Material, 1976-1992, undated (box 1; 2 folders)

Series 5: Photographs, 1971-1992, undated (box 1; 3 folders)

Series 6: Miscellany, 1992 (box 1; 1 folder)
Biographical Note:
Born in Havana, painter Baruj Salinas' (b. 1938) career began in the field of architecture. He graduated from the University of Ohio with an architectural degree and left Cuba permanently in 1959. Salinas settled in Miami and later moved to Barcelona where he studied alongside artists Joan Miró and Antoni Tàpies.
Provenance:
Baruj Salinas donated his papers to the Archives of American Art in 1997.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Baruj Salinas 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 -- Florida -- Miami  Search this
Hispanic American artists  Search this
Painters -- Cuba -- Havana  Search this
Cuban American art  Search this
Genre/Form:
Photographs
Citation:
Baruj Salinas papers, 1971-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.salibaru
See more items in:
Baruj Salinas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-salibaru

Giulio V. Blanc papers

Creator:
Blanc, Giulio V.  Search this
Names:
Cuban Museum of Arts and Culture (Miami, Fla.)  Search this
Brito, Maria, 1947-  Search this
Cano, Margarita, 1932-  Search this
Cano, Pablo  Search this
Carreño, Mario  Search this
Carulla, Ramón, 1938-  Search this
Demi, 1955-  Search this
Garcia, Hernan, 1935-  Search this
Gattorno, Antonio  Search this
Gaztelu, A. (Angel)  Search this
Goldman, Shifra M., 1926-2011  Search this
Gómez-Peña, Guillermo  Search this
Lam, Wifredo  Search this
Larraz, Julio  Search this
Libin, Victoria  Search this
Macia, Carlos A., 1951-1994  Search this
Martínez-Cañas, María  Search this
Riverón, Enrique  Search this
Rodríguez, Arturo, 1956-  Search this
Sánchez, Juan, 1954-  Search this
Sí, Juan  Search this
Trasobares, César  Search this
Vater, Regina  Search this
Vázquez Lucio, Oscar E. (Oscar Edgardo), 1932-  Search this
Interviewee:
Cabrera, Lydia  Search this
Gómez Sicre, José  Search this
Extent:
11 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Date:
1920-1995
Summary:
The dates for the Giulio V. Blanc papers range from 1920-1995. Measuring a total of eleven linear feet and 0.001 GB, the collection provides documentation of the art exhibitions Blanc curated during his career, including original writings and exhibition catalogs. The extensive artists files in the collection provide information on numerous Latin American and Caribbean artists. The collection also provides historical information on the life and culture of Cuba.
Scope and Content Note:
The Giulio V. Blanc papers measure approximately 11 linear feet and 0.001 GB and date from 1920 to 1995. Compiled by Blanc since the beginning of his curatorial, writing, and research career in the 1980s, the papers consist primarily of artist files on Cuban, Cuban-American, and Latin American artists (1920-1995 and undated). Also found is biographical information (1994-1995), interviews by Blanc (1984-1987, 1994) and miscellaneous letters from artists and friends (1983-1995 and undated).

The first series, Biographical Files, 1994-1995 includes information about Blanc's career. Series 2: Miscellaneous Letters, 1983-1995, undated, consists of letters from artists and friends on various topics. Series 3: Artist Files, 1920-1995, undated, represents the bulk of the collection (approximately 300 artists in all, 6 linear feet), and contain materials either collected by Blanc or received by Blanc from the artists themselves. These consist of biographical material about the artist, usually two or three paragraphs written by Blanc, scattered resumes and copies of fellowship applications. Also found are newspaper clippings, exhibition announcements and catalogs, and letters or correspondence between Blanc and the artists. Of special interest in this series are numerous taped interviews with celebrated Cuban artists and art historians such as José Gómez Sícre, founder and first director of the Art Museum of the Americas, Organization of American States. Gómez-Sícre describes his early career and involvement with acquisitions for the museum's permanent collection as well as his working relationship with Alfred H. Barr, first director of the Museum of Modern Art in New York. Gómez-Sícre's notable book, Pintura Cubana de Hoy, published in Havana in 1944 is included in the files.

Elena Peláez de Medero, another interviewee, discusses her sister, Cuban painter Amelia Peláez (1896-1968). Blanc interviewed Elena Peláez in Miami for his 1988 exhibition Amelia Peláez: A Retrospective. The Peláez file includes Blanc's correspondence with her as well as copies of rare 1930s and 1940s exhibition catalogs from Amelia Peláez's early career. Among the catalogs is a copy of Modern Cuban Painters from the 1944 exhibition held at the Museum of Modern Art in New York. Also found are rare French, German and Spanish newspaper clippings on Peláez dating back to the 1920s. Of interest is a copy of Amado Blanco's 1937 poetry book, Poema desesperado. Published in Havana, the book is dedicated to the memory of Federico García Lorca and includes illustrations by Peláez.

Another prominent artist whom Blanc interviewed was Enrique Riverón (b. 1901) leader of the Cuban vanguardia. He was a member of El Grupo de Montparnasse, a talented group of painters and writers living in the southern district of Paris in the late 1920s, an area noted for its boisterous after-hour activities. The interview was published in the Journal of Decorative and Propaganda Arts in 1997. Also found in the papers are illustrated letters and greeting cards addressed to Blanc and his parents, Baron Lodovico Blanc and María V. Blanc.

Series 4: Exhibition Files, 1977-1995, undated, consists primarily of material Blanc compiled for exhibitions he curated. Found here are letters from museum directors, artists and colleagues, drafts and finished essays for exhibition catalogs, and printed material such as newspaper clippings of art reviews. This series also includes files on exhibitions Blanc did not curate.

Series 5: Subject Files, 1933-1995, undated, are files relating to Cuban art, culture, and society, the Cuban revolution, book projects, Biennials in Havana and São Paulo, the 1988 controversy surrounding the Cuban Museum of Arts and Culture (Miami, FL) and other topics. Found are letters, drafts of writings, notes, printed material such as newspaper clippings and magazine articles, press releases, and exhibition announcements.

Particularly extensive is the documentation about the 1980s conflict at the Cuban Museum of Arts and Culture. In April 1988, a fund-raising auction at the 24-year-old 'little Havana' institution resulted in heated disputes that escalated to violence. The works auctioned were by Cuban artists still living on the island. Many in Miami's Cuban community considered these artists to be supporters of the Communist regime and were outraged. One of the disputed works purchased the night of the auction, a drawing by Manuel Mendive, was taken across the street by its successful bidder and burned. In addition, the museum building was damaged by a pipe bomb shortly after the sale. In the National Public Radio news story (available in Blanc's papers on audio cassette) Helen Kohen, critic for the Miami Herald commented, "We're not talking about paintings. We're talking about `my brother's in jail'. That's what we're talking about." The situation intensified quickly; transcending local politics and involving the Treasury and Justice Departments, the American Civil Liberties Union, the Federal Bureau of Investigation, and Sotheby's and Christie's auction houses. Ramón Cernuda, the museum vice-president who organized the auction also had his personal collection of Cuban art impounded by the FBI. A second bombing took place in 1989 to protest an exhibition of Cuban artists who came to the U. S. during the early 1980s Mariel boatlift.

The seriousness of the conflicts in the Miami museum prompted the Museum of Modern Art in New York to withdraw an offer to lend three paintings to the Cuban museum for the 1988 exhibition Amelia Peláez: A Retrospective scheduled to open later that year. Curated by Giulio Blanc, it was the first U.S. retrospective of this important Cuban artist and the exhibition helped situate her work. The Cuban Museum of Art in Daytona Beach, an institution that helped start the Miami museum, also withdrew an offer to lend "Amelias". The result was an exhibition devoid of works owned by the Museum of Modern Art, important paintings created after 1963, the year President Kennedy imposed economic sanctions on Cuba.

To publicize the Peláez exhibition and boost attendance, the museum placed a public invitation in the Spanish section of the Miami Herald. The half page ad, also found in the Blanc papers, lists more than 100 intellectuals and professionals who supported the exhibition. Blanc stated in a letter to the Miami Herald, "It is horrifying to think there are those in Miami who would burn a painting for the sake of politics. This was the same reasoning utilized by Joseph Goebbels when he made bonfires of books and paintings by anti-Nazi and `degenerate' artists and writers in 1930s Germany... One can only pity the ignorance of those who play into the hands of the Castro regime by resorting to uncivilized tactics that can only hurt the image of the Cuban-exile community and of Miami in general."

The files concerning the Cuban Museum of Arts and Culture contain exhibition announcements, copies of court orders, press releases and correspondence between Blanc and the Museum of Modern Art in New York regarding the museum and the Peláez exhibition. Also included are a great number of newspaper articles printed in two of Miami's major newspapers, the Miami Herald and El Nuevo Herald which covered the story until it was resolved in the early 1990s. Offering additional information on the controversy are a number of letters addressed to either Blanc or his parents from artists and friends expressing either discontent with the museum's state of affairs or gratitude for the Blanc's financial support during the museum's reconstruction. These provide remarkable insight into a relatively heterogeneous Cuban community.

Series 6: Sound Recordings, 1992, 1994 consists of two untranscribed audio cassette tapes. One is of the 1992 College Art Association's session: Artistic Voices of Latin America: The Aesthetics of Anti-Colonialism held in Chicago, Illinois in which Giulio V. Blanc was a panelist. The other is a rare 1994 interview conducted by Blanc with poet-priest Monseñor Angel Gaztelu, a friend of many Cuban writers and artists, and who presided over Peláez's funeral service in 1968.

The last series, Series 7: Photographs, 1981-1993, undated, includes black and whiteportraits of artists, group shots of Blanc with "Miami Generation" artists María Brito, Pablo Cano, María Martínez-Cañas, Carlos Macía, Arturo Rodríguez, and César Trasobares, and photos of other artists.
Arrangement:
The Giulio V. Blanc papers are arranged into seven series primarily according to type of material. Within each series, materials are arranged chronologically, except for Artist Files and Subject Files which are arranged alphabetically by either name or subject.

Series 1: Biographical Files, 1994-1995, undated (box 1; 3 folders)

Series 2: Miscellaneous Letters, 1983-1995, undated (box 1; 3 folders)

Series 3: Artist Files, 1920-1995, undated (boxes 1-8, ER01; 6 linear ft., 0.001 GB)

Series 4: Exhibition Files, 1977-1995, undated (box 8; 1 linear foot)

Series 5: Subject Files, 1933-1995, undated (boxes 8-12; 2.5 linear feet)

Series 6: Untranscribed Sound Recordings, 1992-1994 (box 12; 2 folders)

Series 7: Photographs, 1981, 1993, undated (box 12; 2 folders)
Biographical Note:
Independent curator, critic, art historian and consultant Giulio V. Blanc (1955-1995) specialized in Cuban and Latin American art history and in his lifetime collected a wealth of material on the subject. Through his numerous exhibitions and keen articles appearing in national and international art journals, Blanc became a leading authority on Latin American art and successfully established himself as a link between Cuban and Cuban-American artists and US galleries and museums. The Miami Generation (1983) and Amelia Peláez: A Retrospective (1988) are two significant exhibitions Blanc curated for Miami's Cuban Museum of Arts and Culture in addition to the celebrated Wifredo Lam and His Contemporaries, 1938-1952 (1992) for New York's Studio Museum in Harlem. Giulio V. Blanc was among the key figures that catapulted Latin American art onto the mainstream in the early 1980s.

Giulio V. Blanc was born in Havana in 1955 to Baron Lodovico Blanc and María V. Blanc. The Blanc name hails from Italy and the title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, while he was Secretary of State in 1873 under Victor Emmanuel II of Italy. As young advocates of Cuban culture, the Blanc's collected a number of paintings by Cuban artists but were forced to leave behind the works of Cuban masters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others to facilitate an uncomplicated exodus from the country during the revolution. Lodovico and María were in their thirties and Giulio was five years old when the family settled in Miami.

Giulio Blanc completed his undergraduate education at Harvard and proceeded to Brown University and the Institute of Fine Arts in New York for graduate work (1979-1980). During his career, he served as an independent curator and consultant to The Cuban Museum of Arts and Culture (Miami), The Metropolitan Museum (Miami), and The Museum of Contemporary Hispanic Art (New York) among others. He also lectured on Latin American art history at the Art Museum of the Americas, OAS (Organization of American States), Washington, DC, The University of Miami, and El Museo Nacional de Arte in La Paz, Bolivia. In addition, he worked as a consultant in the Latin American Paintings Department at Sotheby's auction house in New York and served on the editorial board of the magazine Art Nexus. Blanc was pursuing a doctoral degree in art history at the City University of New York before his premature death in 1995 at the age of thirty-nine.

1955 -- Born November 1 in Havana, Cuba to Baron Lodovico and Baroness María V. Blanc, young collectors of Cuban art. The title of Baron was awarded to Alberto Blanc, Lodovico Blanc's grandfather, in 1873 while Alberto was Secretary of State under Victor Emmanuel II of Italy.

1960 -- The Blanc family migrates to the United States because of the escalating revolution. Lodovico and Maria V. Blanc are in their thirties when they flee the island. The works of Cuban painters such as Carlos Enríquez, Victor Manuel, René Portocarrero, Fidelio Ponce and others were left behind to facilitate an uncomplicated exodus.

1976 -- Giulio V. Blanc serves as research assistant for one year at the Tozzer Library, Peabody Museum, Harvard University.

1977 -- Graduates cum laude from Harvard College with a B.A. in Archeology.

1979 -- Graduates from Brown University with a M.A. in Archeology. Was a research assistant until 1980 at the Gallery of the Center for Inter-American Relations, New York city.

1980 -- Receives a certificate in Museum Studies from the Graduate School of Arts and Science, New York University. Curates Emilio Sánchez: Lithographs which opens at the Pagoda, Ransom-Everglades School, Coconut Grove, Florida. Co-curates Cuba in the Nineteenth Century for Miami's Miami-Dade Public Library.

1981 -- Joins the Latin American Paintings Department, Sotheby's Auction House, New York and serves for two years.

1982 -- Co-curates Young Hispanics, USA which opens at the Lehigh University Museum, Bethlehem, Pennsylvania and curates Ten Out of Cuba for INTAR Latin American Gallery in New York.

1983 -- Curates Cuban Fantasies at the Kouros Gallery in New York and Pablo Cano en Paris for the 4 Place de Saussaies in Paris, France. Also curates The Miami Generation: Nine Cuban-American Artists for the Cuban Museum of Arts and Culture in Miami and the Meridian House in Washington, DC.

1984 -- Serves as independent curator and consultant to Miami's Metropolitan Museum and Art Center and The Cuban Museum of Arts and Culture; The Museum of Contemporary Hispanic Art in New York and other institutions. Lectures at the Art Museum of the Americas (Organization of American States) in Washington, DC; The University of Miami; The Cuban Museum of Arts and Culture (Miami); The Center for the Fine Arts (Miami); Rockland Center for the Arts (West Nyack, NY); and the National Museum of Art, La Paz, Bolivia. Curates Young Collector's of Latin American Art which opened at Miami's Metropolitan Museum and Art Center.

1985 -- Curates Dancing Faces: An Exhibition of Mexican Masks for the Metropolitan Museum and Art Center in Miami and Nuevas Vistas: Latin American Paintings which opens at the Wistariahurst, Holyoke, Massachusetts. Curates Architecture in Cuban Painting, for the Miami Dade Public Library.

1986 -- Receives and M.A. in Art History at New York University's Institute of Fine Arts. Curates Carlos Enríquez for the Cuban Museum of Arts and Culture, Miami, Florida and Into the Mainstream: Ten Latin American Artists Working in New York for the Jersey City Museum in Jersey City, New Jersey.

1987 -- The exhibition Aurelia Muñoz: Selections, curated by Blanc, opens at the Metropolitan Museum of Art in Miami, Florida. Serves as juror for Expresiones Hispanas: Coors National Hispanic Art Exhibition, Denver, Colorado. Curates Visions of Self: The American Latin Artist for the Miami-Dade Community College gallery.

1988 -- Receives a grant from the NY State Council on the Arts for research on Cuban artist Wifredo Lam for the exhibition at the Studio Museum in Harlem, New York. Enrolls in the art history Ph.D. program at the City University Graduate Center, New York city. First bombing of the Cuban Museum of Arts and Culture in Miami takes place. Blanc's Amelia Peláez: A Retrospective successfully opens at the Cuban Museum of Arts and Culture despite much controversy.

1989 -- Curates Urgent Dream: New Work by Mario Bencomo at the Museum of Contemporary Hispanic Art (MoCHA), New York. Second bombing of the Cuban Museum of Arts and Culture, Miami FL.

1990 -- New York correspondent for Arte en Colombia, Bogota. Serves as adjunct lecturer at Queens College (CUNY) for the Fall semester. Curates the exhibition, The Post-Miami Generation for the Inter-American Gallery in Miami, Florida. Co-curates Figurative Perspectives: Six Artists of Latin American Background for the Rockland Center for the Arts, West Nyack, NY.

1991 -- Visiting scholar at University of Massachusetts at Amherst. Writes a small play, Tía Carmela: A Cuban Tragicomedy, illustrated by Cuban artist and friend Pablo Cano.

1995 -- Dies at the age of forty of AIDS related complications.
Provenance:
Margherite Blanc, sister of Giulio V. Blanc, donated her brother's papers in 1998 to the Archives of American Art, Smithsonian Institution. This collection, along with numerous other Latino collections, was acquired through the 1996 Latino Art Documentation Project in South Florida. Initiated to chronicle the thriving art scene so apparent in the city's galleries, museums, and private collections, the project resulted in numerous acquisitions described in the revised edition of the Papers of Latino and Latin American Artists. Both the project and the publication were made possible, in part, with funding provided by the Smithsonian Institution's Center for Latino Initiatives.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Giulio V. Blanc 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:
Cuban American art -- Florida -- Miami  Search this
Art, Latin American  Search this
Artists -- Cuba  Search this
Cuban American artists  Search this
Art historians -- Florida -- Miami  Search this
Genre/Form:
Sound recordings
Citation:
Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.
Identifier:
AAA.blangiul
See more items in:
Giulio V. Blanc papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blangiul
Additional Online Media:

Carlos A. Maciá papers

Creator:
Macia, Carlos A., 1951-1994  Search this
Extent:
1.8 Linear feet
Type:
Archival materials
Collection descriptions
Drawings
Interviews
Video recordings
Date:
circa 1960-1996
Summary:
The papers of Cuban American painter Carlos A. Maciá measure 1.8 linear feet and date from circa 1960 to 1996. The collection is comprised of biographical materials that includes a video recording of an interview with Maciá conducted by Josh Greenman; correspondence; personal business records; printed materials; artwork that includes paintings, drawings and prints; and photographs, slides, and negatives depicting Maciá, works of art, friends and family, and still lifes photographed by Maciá.
Scope and Contents:
The papers of Cuban American painter Carlos A. Maciá measure 1.8 linear feet and date from circa 1960 to 1996. The collection is comprised of biographical materials that includes a video recording of an interview with Maciá conducted by Josh Greenman; correspondence; personal business records; printed materials; artwork that includes paintings, drawings and prints; and photographs, slides, and negatives depicting Maciá, works of art, friends and family, and still lifes photographed by Maciá.
Arrangement:
The collection is arranged as six series.

Series 1: Biographical Materials, 1972-1994 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1981-1996 (Box 1; 5 folders)

Series 3: Personal Business Records, 1977-1996 (Box 1; 0.2 linear feet)

Series 4: Printed Materials, circa 1971-1996 (Box 1, OV 5; 0.2 linear feet)

Series 5: Artwork, circa 1970-circa 1989 (Box 1, OVs 3-4, 6-8; 0.4 linear feet)

Series 6: Photographic Materials, circa 1960-circa 1989 (Box 1-2, OV 5; 0.7 linear feet)
Biographical / Historical:
Carlos A. Maciá (1951-1994) was a painter in Miami, Florida and Barcelona, Spain.

Maciá was born in Havana, Cuba and immigrated to the U.S. at age 11. He attended Miami Springs Senior High School before studying to become a monk at the Convento de Franciscanos in Spain in 1970. He left the convent after a year and went on to study art at the San Fernando Academy in Madrid. In 1972 he returned to Miami to attend Miami Dade Community College. He continued his studies at Barry College where he received a bachelor's degree in theology and philosophy in 1977. In 1983 he received a master's degree in theology. Maciá's interest in theology was a frequent theme in his artwork.

Early in his career Maciá worked with collages and etchings. In 1987, he moved to Barcelona to make a series of handmade books and boxes. He is also known for creating building facades and large-scale works. When in Miami, Maciá worked in the bedroom of his parents' house in Hialeah.

Maciá was awarded the Florida Arts Council Fellowship in 1982 and in 1984 the prestigious Cintas Fellowship. He exhibited his work internationally and has works in permanent museum collections in Boston, Barcelona, and Paris. Maciá died in 1994.
Provenance:
The papers were donated in 1997 by Celinda Maciá, Carlos A. Maciá's mother.
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.
Occupation:
Painters -- Florida -- Miami  Search this
Painters -- Spain -- Barcelona  Search this
Topic:
Cuban American artists  Search this
Genre/Form:
Drawings
Interviews
Video recordings
Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macicarl
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macicarl

Carlos A. Macía papers, circa 1960-1996

Creator:
Macia, Carlos A., 1951-1994  Search this
Topic:
Interviews  Search this
Drawings  Search this
Cuban American artists  Search this
Video recordings  Search this
Painters  Search this
Record number:
(DSI-AAA_CollID)5497
(DSI-AAA_SIRISBib)216019
AAA_collcode_macicarl
Theme:
Latino and Latin American
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216019
Additional Online Media:

Biographical Materials

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
1972-1994
Scope and Contents:
Biographical materials include government documents from Maciá time in Spain, a video recording of an interview with Maciá conducted by Josh Greenman, resumes, university transcripts and report cards. Religious studies materials include a handwritten prayer, notes about Maciá in regards to religion and sexuality, and a photocopy of Miami bishop Agustin A. Román's thesis "The Popular Piety of the Cuban People."
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macicarl, Series 1
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref1

Resumes

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Date:
1983-1992
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref10

University Documents

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 7
Type:
Archival materials
Date:
1972-1977
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref11

From Maciá to Bonnie Greenman

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
circa 1989
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref12

Maciá, Celinda (Mother)

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 9
Type:
Archival materials
Date:
1995-1996
Scope and Contents:
Includes sympathy cards and letters from galleries to Celinda after Maciá's death and correspondence with the Museum of Art in Fort Lauderdale regarding an artwork donation.
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref13

Cintas Foundation, Inc.

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 10
Type:
Archival materials
Date:
1981-1994
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref14

Exhibitions, Regarding

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 11
Type:
Archival materials
Date:
1982-1992
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
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Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref15

Florida Department of State, Division of Cultural Affairs - Fellowship

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1982-1983
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
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Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref16

Arregui Hsia Fine Art, Consignment

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 13
Type:
Archival materials
Date:
1990-1996
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref17

Arregui Hsia Fine Art, Sales

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 14
Type:
Archival materials
Date:
1991-1993
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref18

Barbara Gillman Gallery

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 15
Type:
Archival materials
Date:
1981-1990
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref19

Correspondence

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Extent:
5 Folders (Box 1)
Type:
Archival materials
Date:
1981-1996
Scope and Contents:
Correspondence is from Maciá to Bonnie Greenman, to Maciá's mother after his death, the Cintas Foundation, Florida Department of State, and letters regarding exhibitions.
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macicarl, Series 2
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref2

Galerie Ninety-Nine, Consignment

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Date:
1980
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref20

Legal

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1983
1992
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref21

Lists, Artwork and Addresses

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 18
Type:
Archival materials
Date:
circa 1990
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref22

Museum of Art (Fort Lauderdale), Jury Action Notice

Collection Creator:
Macia, Carlos A., 1951-1994  Search this
Container:
Box 1, Folder 19
Type:
Archival materials
Date:
1992
Collection 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.
Collection Citation:
Carlos A. Maciá Papers, circa 1960-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Carlos A. Maciá papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macicarl-ref23

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