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Jan Faul "Potomac : East and West" (portfolio of photoprints)

Creator:
Faul, Jan, 1945-  Search this
Extent:
0.3 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Topographical views
Manipulated photographs
Photographs
Painted photographs
Hand coloring
Landscapes (representations)
Portfolios (groups of works)
Place:
Washington (D.C.) -- 1990-2000
West Virginia -- 1990-2000
Virginia -- 1990-2000
Maryland -- 1980-2000
Potomac River -- 1990-2000
Date:
1991
Summary:
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," by Jan Faul, 1991. They include agricultural landscapes, cemeteries, industrial buildings commercial buildings in rural areas, etc., in the Potomac River region of Washington, D.C., Maryland, Virginia, and West Virginia. Each image contains a small area hand-colored by the photographer, providing a subtly mysterious, often whimsical or humorous effect.
Scope and Contents:
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," and is number six in an edition of forty five. The photographs all were taken in 1991 and the prints were made shortly thereafter. The photographs are basically somewhat romantic documentary images of locales in Washington, D.C., Virginia, Maryland, and West Virginia, including landscapes and industrial settings, interiors and exteriors, some of which are apparently abandoned. Human figures are seen only incidentally in several images. Each print has a small area hand colored by the artist, usually adding subtle humor and/or a hint of mystery. The titles are brief and geographical, and the set is numbered I to XII and XIV to XXV; there is no number XIII, the artist was careful to point out.
Arrangement:
The collection is arranged into one series. Sequence arranged by artist: numbered I-XII, XIV-XXV (no number XIII).
Biographical / Historical:
Jan Faul was born in Port Chester, New York in 1945. His family moved frequently, living in Washington, D.C., New York, Boston, Denver, Toronto, Strasbourg, and Bern, Switzerland. In Bern he received his first camera as a gift for his fourteenth birthday. He returned to the United States and completed high school in Washington.

In his late teens Faul met Roy Stryker, legendary director of the Farm Security Administration documentary photography project, who suggested that he spend time looking at photographs in the Library of Congress which he did, concentrating on the F.S.A. files. Influenced by his artist parents, Faul studied art history and graphics in college, hoping to become a printmaker, but had begun to support himself with photography by the time he graduated from The George Washington University in 1969.

The "immediacy" of photography and other aesthetic considerations in addition to the financial ones finally led to Faul's abandonment of printmaking and commitment to photography. Since 1970 he has been a self employed photographer, working in landscape, still life, and portraiture. He documented the lives of poor people in the U.S. from July 1970 to March 1971 for the Office of Economic Opportunity. In summer 1971 he photographed scenes of rural poverty for the Appalachian Regional Commission. A grant from the Upjohn Institute for American Labor Studies in 1974 supported his photographic documentation of American workers and changing work habits. In the summer of 1975 he worked for the Smithsonian, portraying the locksmen and pilots of the St. Lawrence Seaway. Further grants and contracts for documentary photography followed, including the 1976 Smithsonian Festival of American Folklife.

Faul moved to Copenhagen, Denmark, in 1979, and there worked on commercial accounts for Esso, Polaroid, and others, while continuing to pursue a variety of personal photographic projects. He returned to the Washington, D.C., area a decade later.

The photographer's career has included commercial work and contractual documentary projects, as well as the sale of photographic prints as art to private collectors and sales and donations to institutions. Fourteen photographs were donated to the Division of Photographic History of this Museum in 1970, and his work is in the collections of the Royal Museum of Art in Denmark, The Library of Congress, the San Francisco Museum of Modern Art, George Eastman House, the Toledo Museum of Art, the Corcoran Gallery of Art, the Oakland Museum, and others. He has received a number of awards, and has been included in a number of group and solo exhibitions. He has received an artist's residency at Yaddo for 1992 1993. Additional biographical information, including a bibliography, is on file in the Archives Center.
Provenance:
Collection donated by Jan Faul, November 13, 1991.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Use and copyright restrictions: all rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others. Contact artist for reproduction arrangements.
Topic:
Agricultural land -- 1990-2000  Search this
Rivers -- 1990-2000 -- United States  Search this
Commercial buildings -- 1990-2000  Search this
Cemeteries -- 1990-2000  Search this
Industrial complexes -- United States  Search this
Industrial towns -- 1990-2000  Search this
Genre/Form:
Topographical views
Manipulated photographs
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1990-2000
Painted photographs
Hand coloring
Landscapes (representations) -- 1990-2000 -- United States
Portfolios (groups of works) -- 1990-2000
Citation:
Jan Faul "Potomac East and West" Portfolio, 1991, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0441
See more items in:
Jan Faul "Potomac : East and West" (portfolio of photoprints)
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep851520cd3-8ba6-48d1-acdc-c078e9c85d55
EDAN-URL:
ead_collection:sova-nmah-ac-0441

Wedge Innovations Records

Interviewer:
Shayt, David H.  Search this
Creator:
Wedge Innovations  Search this
Extent:
13 Cubic feet (28 boxes, 5 map folders)
Type:
Collection descriptions
Archival materials
Videotapes
Notebooks
Oral histories (document genres)
Audiotapes
Financial records
Financial statements
Interviews
Correspondence
Photographs
Drawings
Advertisements
Black-and-white photographic prints
Date:
1985-1996
Summary:
The records of Wedge Innovations document the invention and development of a new hand tool, the SmartLevel, an electronic builder's level; also included are company management and policies.
Scope and Contents:
The SmartLevel story gives excellent insight into the life cycle of a small Silicon valley start-up in the 1980s. SmartLevel's creator, Wedge Innovations, established a market for a new product, achieved national distribution, off-shore manufacturing, and product licensing, before going out of business due to pressure from profit-hungry venture capitalists.

The records of Wedge Innovations is a "tool biography" that documents the invention and development of a new hand tool, the SmartLevel, an electronic builder's level first conceived in 1985 by Andrew Butler. The SmartLevel Collection is divided into seven series: Corporate Records, Engineering Records, Financial Records, Marketing Records, Operations Records, Product Development Records, and Corporate Culture, reflecting both the organizational structure of Wedge Innovations and the company's working environment.

Series 1, Corporate Records, 1985-1993, address the overall management of Wedge Innovations and document its policies, especially through the company's annual business plans, 1986-1992, and the monthly reports prepared for the Board of Directors' meetings, 1989-1992. This series also details the workings of each department through weekly departmental reports. The staff meetings files, July-November 1989, February 1990-November 1992, are particularly useful for understanding the day-to-day operation of the company.

Series 2, Engineering Records, 1985-1993, document the design and development of the SmartLevel from its conception in 1985 as the WedgeLevel, through its production as the SmartLevel in 1989, and through its refinement into the Pro SmartLevel and the Series 200 SmartLevel in 1991. The design process is particularly well documented through Andrew Butler's and Kevin Reeder's design notebooks and through the detailed technical drawings done by Butler, Reeder, and Ronald Wisnia. Also well documented are the efforts made to solve the many problems associated with the development and quality control of the electronic sensor module that was the heart of the SmartLevel.

Series 3, Financial Records, 1985-1992, include Wedge's summary financial statements from 1985 to 1992.

Series 4, Marketing Records, 1986-1992, document customer and dealer relations through marketing department correspondence, operational records, and advertising campaigns. This series is particularly rich in promotional material (1988-1992), such as advertisements, advertising copy, photographs, product promotion plans, and videotapes that demonstrate the varied features and uses of the products.

Series 5, Operations Records, 1990-1993, document the manufacturing process and the Company's offshore operations.

Series 6, Product Development Records, 1986-1993, document the company's intended development of an entire "Smart Tools" line.

Series 7, Corporate Culture, 1985-1996, contains employee photographs and oral history interviews with key Wedge personnel conducted in 1995 and 1996 by David Shayt, Division of Work and Industry, National Museum of American History. The interviews discuss the background of the participants, the company's origins and history, product development, the Silicon Valley context, and the efforts of Wedge Innovations successor firm, SmartTool Technologies.
Arrangement:
The collection organized into seven series.

Series 1, Corporate Records, 1985-1993

Series 2, Engineering Records, 1985-1993

Series 3, Financial Records, 1985-1992

Series 4, Marketing Records, 1986-1992

Series 5, Operations Records, 1990-1993

Series 6, Product Development Records, 1986-1993

Series 7, Corporate Culture, 1985-1996
Biographical / Historical:
Andrew G. Butler (b. 1955), the founder of Wedge Innovations exhibited an interest in building construction and an entrepreneurial spirit early in life. From age 12 to 17 he built a boat that he then sailed alone from California to Tahiti, where he spent several years as an independent carpenter and building contractor. After returning to the United States, he earned a B.S. degree in electromechanical engineering from Stanford University (1983) and became a software specialist for Bechtel Construction. In 1985, he conceived of an idea for an electronic carpenter's level that could read a range of angles. Butler formed Wedge Innovations in 1986. He worked in the basement of his home in order to develop and market this level, selling his boat to finance the venture. He hired Marilyn Crowell as his secretary and Robert Nagle and Dan Kellogg as engineers. This company developed the sensor technology and software necessary to build the company's first product, the WedgeLevel. The heart of this tool was an electronic sensor circuit connected to a microprocessor capable of measuring the tool's orientation. This sensor module fit into an ergonomically-designed teak rail with anodized aluminum edges jointly developed by Butler, engineering design consultant Kevin Reeder, and engineer Ronald Wisnia.

In 1987, Wedge moved to Santa Clara to begin manufacturing the WedgeLevel. The transition from a research and development concern to a manufacturing company proved difficult, due to manufacturing and financial difficulties. It was difficult to obtain a reliable yet inexpensive source of teak for the rails, designs for a plastic composite and aluminum rail were developed, while offshore manufacturing of the sensor components was established. Overarching all concerns was the persistent difficulty of obtaining sufficient investment capital. While managing his growing company, Butler also began planning for a line of hand tools that combined microelectronics and user-oriented, ergonomic design. In 1988, the company changed the name of its product to SmartLevel in order to emphasize the company's proposed line of Smart Tools. That same year, the company adopted a new corporate logo, a stylized W with a red wedge, signaling its growing maturity. Promotion of the product also began through demonstrations of the prototype done by consultant building contractor, Rick Feffer.

In January 1989, the SmartLevel prototype was launched at the National Association of Home Builders Show in Atlanta, Georgia. The favorable publicity generated by this launch and by the company's media campaign generated many orders. To supply these orders, Wedge moved to larger quarters in Sunnyvale on April 1, 1989. In June 1989, Wedge gained further publicity by donating several SmartLevels to a Habitat for Humanity project in Milwaukee, where former president Jimmy Carter used one. Although Wedge expected to ship the first SmartLevels in July 1989, there were considerable delays in manufacturing. In particular, there were stability and performance problems with the sensor, which engineer Ken Gunderson was brought in to remedy. The sensor module was re-engineered to be more rugged and the level was redesigned with a plastic composite and aluminum rail. The new level, known as the Pro SmartLevel, was intended for the professional construction market. The first SmartLevels were shipped on September 5, 1989.

In 1990, patents were granted to Andrew Butler, Donald G. Green, and Robert E. Nagle for an inclinometer sensor circuit and to Butler and Ronald Wisnia for a carpenter's level design. That same year, Brian Bayley joined Wedge as Vice-president for Engineering, and Edwin "Win" Seipp joined as Project Manager - DIY SmartLevel. Seipp's responsibility was to develop a low-cost, "do-it-yourself" version of the SmartLevel, which was eventually called the Series 200 SmartLevel. This level had an all-aluminum rail and a non-removable sensor.

In September 1990, the company moved to San Jose and by 1991 had over 60 employees. Although sales continued to grow and name recognition of the product was quite strong, Wedge had difficulty meeting the expectations of its investors. Butler entered into financial negotiations with the Macklanburg-Duncan Corporation, a large-scale manufacturer of hand tools, to seek investment in his company. These negotiations led in November 1992 to the acquisition of Wedge by Macklanburg-Duncan, which dissolved all but Wedge's engineering section. Macklanburg-Duncan today manufactures a "SmartTool" level, while Butler co-owns D2M (Design To Market), a company that develops new product ideas for the market.

SmartLevel Chronology

1992 -- Butler negotiates with Macklanburg-Duncan for a merger to save Wedge. In the midst of the negotiations, Butler is fired by his Board of Directors. Butler regains control of Wedge three months later, fires the replacement president, and sells Wedge outright to Macklanburg-Duncan, which dissolves all but the engineering functions of Wedge.

1991 -- Wedge sponsors a "New Product Development Conference," where numerous designs for new hand tools are worked on. SmartLevel sales and name recognition grows but not quickly enough to meet overhead expenses of new facility or investors' demands.

1990 -- Yet more redesign work, both in-house and with Kevin Reeder, who also develops idea for "SmartTube" carrying case (not built). Patents granted to Andy Butler et al. for inclinometer sensor circuit and carpenter's level design. Wedge hires Brian Bayley as vice-president for engineering to develop a low-cost model of the SmartLevel. The all-aluminum Series 200 SmartLevel is born. Wedge moves to larger facilities in San Jose.

1989 -- SmartLevel launched at National Association of Home Builders show in January. Good press coverage, but cannot meet orders. More publicity from Habitat for Humanity project when former President Jimmy Carter uses a SmartLevel. But stability and performance problems plague sensor. More redesign work results in more rugged Pro SmartLevel. The first SmartLevels shipped on September 5, 1989.

1987-1988 -- Wedge moves to Santa Clara; intends to begin manufacturing and todevelop an entire line of "Smart Tools" but encounters financial and engineering difficulties; Wedge consults with independent design engineer, Kevin Reeder, on level design. Intensive redesign effort develops the SmartLevel, made of plastic and aluminum rail.

1986 -- Wedge Innovations founded in the basement of Butler's house; basic sensor design worked out; teak & aluminum WedgeLevel developed.

1985 -- Idea for electronic carpenter's level formulated by Andy Butler.
Related Materials:
Materials at the National Museum of American History

The Division of Work and Industry, National Museum of American History contains artifacts related to the SmartLevel Collection. These include five SmartLevels (Accession #1991.0823; 1996.0284; 1996.0285; 1996.0288; and 1996.0289). They are an original teak WedgeLevel, a Pro SmartLevel, a Series 200 SmartLevel, a Bosch version of the SmartLevel, and a Macklanburg-Duncan SmartTool level. There are also four sensor modules (torpedo levels), two sensors, two carrying cases, one cap, one tee shirt, and one wooden puzzle with the inscription "The World Isn't Just Level and Plumb."
Provenance:
The collection was donated by Andrew Butler, SmartLevel inventor and company founder, Brian Bayley, Vice-President for engineering at Wedge Innovations from 1989-1992, and Kevin Reeder, an independent industrial designer, 1995-1997.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Product demonstrations -- 1980-2000  Search this
Technological innovations -- Hand tools -- 1980-2000  Search this
Electronics -- Tools and implements -- 1980-2000  Search this
Industrial design -- 1980-2000  Search this
Leveling -- 1980-2000  Search this
Teak -- Use of -- 1980-2000  Search this
Level indicators -- 1980-2000  Search this
Venture capital -- 1980-2000 -- United States  Search this
Silicon Valley -- 1980-2000  Search this
Tools -- 1980-2000 -- United States  Search this
Small business -- Management -- 1980-2000  Search this
Investors -- 1980-2000  Search this
Inventors -- 1980-2000  Search this
Engineers -- 1980-2000  Search this
Industrial designers -- 1980-2000  Search this
advertising -- Tools -- 1980-2000  Search this
Carpenters -- 1980-2000  Search this
Carpentry -- Tools -- 1980-2000  Search this
Merchandise displays  Search this
Genre/Form:
Videotapes
Notebooks -- 1980-2000
Oral histories (document genres) -- 1990-2000
Audiotapes
Financial records -- 1980-2000
Financial statements -- 1980-2000
Interviews -- 1980-2000
Correspondence -- 1970-2000
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Drawings -- 1980-2000
Advertisements -- 1980-2000
Black-and-white photographic prints -- Silver gelatin -- 1950-2000
Citation:
The Records of Wedge Innovations, 1985-1996, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.0534
See more items in:
Wedge Innovations Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep895b7b396-3a34-4459-9d3f-83d3003a1cf8
EDAN-URL:
ead_collection:sova-nmah-ac-0534
Online Media:

Paquito D'Rivera Papers

Creator:
D'Rivera, Paquito, 1948-  Search this
Extent:
0.3 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Photographs
Manuscripts
Date:
1988-2000
Summary:
Collection consists of three music manuscripts created by Cuban-born musician and composer Paquito D'Rivera and a photograph.
Scope and Contents:
The collection consists of three music manuscripts created by D'Rivera including A Song of Peace commissioned by the New York Festival of Songs for its annual concert series in 2000. Annie Colina wrote the lyrics for this song. There are also two other music manuscripts including I Remember Diz written by D'Rivera for Dizzy Gillespie shortly after his death. In addition, there is a photograph of D'Rivera's birthday celebration with Dizzy Gillespie in 1988. The materials are arranged in chronological order.
Arrangement:
The collection is arranged in three folders.
Biographical / Historical:
Paquito D'Rivera, born in 1948, is a Cuban musician and composer of both jazz and classical music. He plays both the clarinet and the alto saxophone. In his teen years, D'Rivera became a founding member of the Orquesta Cubana de Musica Moderna, directing the group for two years. At the same time, he played both the clarinet and saxophone with the Cuban National Symphony Orchestra. D'Rivera was also a founding member and co-director of the musical group Irakere, a band that played a mixture of jazz, rock, classical and traditional Cuban music. In 1980, he sought asylum in Spain at the United States Embassy. He moved to New York and played with Dizzy Gillespie's last big band. D'Rivera has won several Grammy awards, including Best Latin Jazz Album in 2003 and 2008 and best classical album at the Latin Grammy awards in 2003 and 2005. In addition, D'Rivera was nominated for Grammy awards in 1979 and 1980. He received the National Medal for the Arts in 2005 and was named one of the 2005 National Endowment for the Arts Jazz Masters.

D'Rivera is also a composer of music. In 2007, he received a John Simon Guggenheim Fellowship in Music Composition. He also received the 2007-2008 appointment as Composer-in-Residence at the Caramoor Center for Music and the Arts. D'Rivera's compositions reflect his widespread musical interests combining Afro-Cuban rhythms and melodies with classical origins.
Related Materials:
Archives Center, National Museum of American History

Tito Puente Papers (AC0894)

Chico O'Farrill Papers (AC0892)

Mongo Santamaria Papers (AC0893)

Smithsonian Jazz Oral History Program Collection (AC0808)

Charismic Production Records of Dizzy Gillespie (AC0979)
Separated Materials:
The Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) holds artifacts related to this collection including a Panama hat, white tuxedo, and D'Rivera's first clarinet. See accession number: 2005.3048.
Provenance:
Paquito D'Rivera donated the collection to the Archives Center in 2005.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz musicians -- United States  Search this
Jazz  Search this
Music -- 20th century  Search this
Musicians -- United States  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Manuscripts -- Music -- 20th century
Citation:
Paquito D'Rivera Music Manuscripts and Photograph, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0891
See more items in:
Paquito D'Rivera Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f5b82ece-a10d-4907-a9f7-d39b5ab1484c
EDAN-URL:
ead_collection:sova-nmah-ac-0891
Online Media:

Jeffrey Kliman Photographs

Creator:
Kliman, Jeffrey, 1942-  Search this
Names:
District Curators Jazz Arts Festival.  Search this
District Curators.  Search this
Extent:
0.25 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Contact prints
Black-and-white photographic prints
Photographs
Place:
Washington (D.C.) -- 1990-2000
Date:
1993 - 2001
Scope and Contents:
This collection documents the District Curators Jazz Arts Festivals held in Washington, D.C. between 1993 and 1998 and the Kennedy Center's Mary Lou Williams' Women in Jazz Series, 1996-2000. The subjects of the District Curators Festivals include the Steve and Iqua Colson Sextet, Sonny Sharrock Band, Don Bryon Quartet, David Sanchez, David Murray, Danilo Perez Trio, Reggie Workman, Andrew White, Wayne Shorter, Roy Hargrove, Sonny Sumter, and the Roy Haynes Quartet. Subjects of the Kennedy Center's Series include Jerri Allen, Dorothy Donogan, Dottie Dodgion, the Maria Schneider Jazz Orchestra, Shirley Scott, Ann Patterson and the all-women band "Maiden Voyage," Roberta Piket, Vanessa Reuben, Jamie Baum, Chris Connor, Claire Dale, Sherrie Maricle and "Diva," and Marian McPartland.

The collection is organized into four series: Series One, District Curators Jazz Arts Festival Contact Sheets (1993-1998); Series Two, District Curators Jazz Arts Festival Prints (1993-1998), and Series Three, Kennedy Center's Women in Jazz Series (1996-2000).

Series 1, Contact Sheets (1993-1998), is comprised of seventy-one 11x14-inch black-and-white contact sheets of 10 photo shoots of the District Curators Jazz Arts Festivals, 1993-1998. The contact sheets provide an overall context for the shoots. Each contact sheet has been numbered by the photographer, indicating its place among the contact sheets for the shoot, e.g., 1/7, 2/7, etc. The contact sheets are arranged chronologically by event date. N.B.: The photographer has numbered the contact sheets for the "Jazz Arts, July 1997" shoot 1/17 through 16/17. The contact sheets for the "Trane was Spiritual, September 1997" shoot are numbered 1/8 through 7/8.

Series 2, Prints (1993-1998, undated), is comprised of fifty-one 5x7-inch black-and-white images printed on 8x10-inch paper. The prints in Series Two are largely of frames from the contact sheets in Series One. A small number of prints in this series are not taken from the contact sheets and are undated. Each print in the series has been numbered by the photographer. For each print, the container list gives the photographer's number in brackets as well as the contact sheet from which the image is taken. The series is arranged chronologically.

Series 3, Kennedy Center's Mary Lou Williams' Women in Jazz Series Contact Sheets (1996-2000), contain fifty-six 8x10-inch black-and-white contact sheets of photo shoots of the Women in Jazz series. The photographs focus on female performers both on and off stage. All contact sheets are arranged chronologically by year.
Arrangement:
Collection arranged into four series.

Series 1:District Curators Jazz Arts Festivals Contact Sheets, 1993-1998

Series 2: District Curators Jazz Arts Festivals Prints, 1993-1998, undated

Series 3: Kennedy Center's Mary Lou Williams "Women in Jazz" Contact Sheets, 1996-2000

Series 4: Kennedy Center's Mary Lou Williams "Women in Jazz" Exhibition Prints, 1994-2001

Series 5: Kennedy Center Jazz Programming, 1996-2000
Biographical / Historical:
Jeffrey Kliman was born in Everett, Massachusetts, March 5, 1942, son of Harry Kliman, one half of the Herschel & Lewis tap-dancing, roller skating team that worked on Broadway and the "Metro Circuit" between 1930 and 1937. Jeffrey Kliman's mother was Janette "Netty" Harris. Reared in middle-class Massachusetts, Jeffrey encountered an eclectic range of music that included opera -- his grandfather sang in the chorus of the Metropolitan Opera in the 1920s—the "race music" of Wolfman Jack, and the Symphony Syd Turin gospel radio show where he first heard the music of Dizzy Gillespie. In 1956 he took a job in the record department of Boston's Lechmere Department Store and listened to the music of Count Basie, Gerry Mulligan, Duke Ellington, and Stan Kenton.

Between 1959 and 1963 Kliman attended the University of Massachusetts as a pre-veterinary major. In 1960 he hosted a two-hour jazz radio show for WMUA, the university's radio station. Failing grades forced him to withdraw from the veterinary program. Eventually Kliman completed a degree as a film and TV major. He left for New York City in February, 1964, to begin a career in television advertising. In 1965 he borrowed a 35mm camera and began taking photographs of various musicians who played at the Fillmore. Kliman did free-lance work by night as a photographer for Rolling Stone, Family Circus, and Zigot while he continued to work by day as a producer for Dolphin Productions.

Kliman worked predominantly in advertising until 1986, when he relocated to Baltimore, Maryland, to start a new career as photographer of jazz musicians. "Anytime I saw jazz I would go and shoot -- Left Bank, DC Jazz Curators, street events." Currently he works as a free-lance photographer for Jazz Times and Down Beat. His primary interest is photographing up-and-coming jazz musicians performing in the Baltimore/Washington region.
Provenance:
The first portion of this collection was donated to the Archives Center by Jeffrey Kliman on December 22, 1997.
Restrictions:
Unrestricted research use on site by appointment. Unprotected photographs must be handled with cotton gloves.
Rights:
Jeffrey Kliman retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Jazz musicians -- American -- 1990-2000  Search this
African American musicians  Search this
Music -- 20th century  Search this
Musicians  Search this
Jazz -- 1990-2000  Search this
Music festivals -- 1990-2000  Search this
Genre/Form:
Contact prints -- 1990-2000
Black-and-white photographic prints -- Silver gelatin -- 1950-2000
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Citation:
Jeffrey Kliman Photographs, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0628
See more items in:
Jeffrey Kliman Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8beed5663-2639-40f2-b63f-c42b9ac290f0
EDAN-URL:
ead_collection:sova-nmah-ac-0628
Online Media:

Alan Strauber Photoprints

Photographer:
Strauber, Alan  Search this
Names:
Bo Diddley, 1928-2008  Search this
Brown, Jerry, 1942-  Search this
Burrell, Kenny  Search this
Duke, David  Search this
Franklin, Aretha  Search this
Winfield, Dave  Search this
Extent:
0.2 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Place:
Ellis Island (New York, N.Y.)
Date:
ca. 1990-1999.
Summary:
Forty-one black and white photoprints, most of which are portraits of jazz, blues, Cajun, and zydeco musicians, plus a few additional subjects.
Scope and Contents:
These prints are all on fiber-based paper, unmounted. The subjects include jazz, blues, and zydeco musicians, politicians, and baseball players in action. All prints copyright 1994 by Alan Strauber, except as otherwise noted, and signed and dated on verso. All are 8" x 10" except for the 11" x 14" prints in box 2.

The majority of the photographs depict musicians in concert, but additional subjects include professional baseball players, politicians like Jerry Brown, and built structures in the American South and at Ellis Island.
Subjects include Marie Laveau's tomb, Aaron Neville, Irma Thomas, Dr. John, Michel Doucette, George Porter, Aretha Franklin, Willie Dixon, Koko Taylor, Johnny Copland, Clarence "Gatemouth" Brown, "Snooks" Eaglin, Robert Ward, Bo Diddley, Don Byron, Cajun dancers, David Duke, Jerry Brown, Boozoo Chavis, Terrence Simien, Chubby Carrier, C. J. Chevier, Dave Winfield, Rickey Henderson, Kenny Burrell, Robben Ford, Kenny Neal, Junior Wells, John Lee Hooker and Willie Dixon, a Mardi Gras "Indian," Walter "Wolfman" Washington, and Robert "Junior" Lockwood; Ellis Island; and "Little Wimp's Barbecue House."
Arrangement:
1 series.

Arranged topically.
Biographical / Historical:
Alan Strauber is a photojournalist whose work has been published in The New York Times, the Philadelphia Inquirer, Gannett Suburban Newspapers, Downbeat Magazine, and AKC Gazette, among others. His work is in the collections of Yad Vashem (Jerusalem, Israel), the Delta Blues Museum (Clarksdale, Mississippi), and the National Baseball Hall of Fame (Cooperstown, N.Y.). Among his special photographic interests are the photography of jazz musicians, professional baseball, and politicians; examples are contained in this collection. His e-mail address is meandgi@sabbatai.com

He is also a poet and art critic. An article by Mr. Strauber, "Art entices eyes, ears at Whitney Museum" from the Poughkeepsie (N.Y.) Journal, April 11, 2002, is posted on the World Wide Web at http://cityguide.pojonews.com/fe/DayTrips/stories/dt_whitney_museum.asp.

Mr. Strauber is mentioned in on a genealogical site listing his family background, posted in the "Phair Family Circle" at http://www.geocities.com/hmshultz/phair.html.
Provenance:
Collection donated by Alan Strauber, 1994, December 21.
Restrictions:
Collection is open for research.
Rights:
Alan Staruber retains copyright. At the time of donation, the Archives Center of the National Museum of American History obtained standard museum rights from the photographer to exhibit these photographs, lend them to other qualified museums, and publish them in its own publication program. These rights do not entitle the Archives Center to provide reproduction permission to third parties, which must contact the photographer for further information.
Topic:
Baseball players -- 1990-2000  Search this
Baseball -- 1990-2000  Search this
Jazz musicians -- 1950-2000 -- United States  Search this
Zydeco musicians  Search this
Musicians, Cajun  Search this
Blues musicians  Search this
Jazz -- 1990-2000  Search this
Carnival -- 1990-2000 -- New Orleans (La.)  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Citation:
Alan Strauber Photoprints, 1990-1994, 1999, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0517
See more items in:
Alan Strauber Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep827167a3f-07d7-40ef-9034-aa20fdda432b
EDAN-URL:
ead_collection:sova-nmah-ac-0517

Emiliano Martinez Collection

Collector:
National Museum of American History (U.S.). Division of Community Life  Search this
Interviewer:
Ahlborn, Richard E., 1933-2015  Search this
Martin, Juana  Search this
Author:
Martinez, Emiliano  Search this
Extent:
0.15 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Interviews
Oral history
Photographs
Transcripts
Place:
Fort Chaffee (Ark.)
Date:
1984
Summary:
Papers, oral history, and transcripts relating to Emiliano Martinez, a Cuban immigrant.
Scope and Contents:
Papers and photographs related to the immigration experience of Cuban refugee Martinez: a story from the Washington Post, March 12, 1984; a 45-minute cassette recording of an interview (in Spanish) by Richard E. Ahlborn with Martinez; a transcription in Spanish of the interview; six photographs of the hut taken by a zoo photographer; a covering memorandum from Ahlborn; a copy of Martinez's earnings from the sale of cans; and a diagram of his hut. Ahlborn, a curator in the Division of Community Life, was assisted by Juana Martin, a social worker.
Biographical / Historical:
The story of Emiliano Martinez, a Cuban refugee, was publicized as an example of the ingenuity and survival skills of recent immigrants to this nation. Martinez fled Cuba in one of the freedom flotillas of 1980. After a year in a refugee camp at Fort Chaffee, Arkansas, he arrived in Washington, D.C. in April 1981. He shared apartments with other Cuban refugees until October 1982. Using his carpentry skills, he constructed a hut on undeveloped land at the National Zoo, where he lived from December 1982 until March 1984. He then moved into a boarding house in the Adams-Morgan neighborhood. He made his livelihood by selling aluminum cans to a Safeway grocery store for an average of sixty-five dollars a month.
Provenance:
Collection donated by Emilio Martinez.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Carpentry  Search this
Emigration and immigration  Search this
Hispanic Americans -- 1950-2000  Search this
Homelessness  Search this
Housing  Search this
Political refugees  Search this
Poverty  Search this
Genre/Form:
Audiocassettes
Audiotapes
Interviews -- 1980-2000
Oral history
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Transcripts
Citation:
Emiliano Martinez Collection, 1984, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0176
See more items in:
Emiliano Martinez Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86b08cf62-f39f-45dc-888b-2a21680f2041
EDAN-URL:
ead_collection:sova-nmah-ac-0176

Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints]

Creator:
Driggs, Frank, 1930-  Search this
Smithsonian Institution. Office of Printing and Photographic Services  Search this
Names:
Ellington, Duke, 1899-1974  Search this
Extent:
0.5 Cubic feet (1 box )
Type:
Collection descriptions
Archival materials
Photographs
Copy prints
Reproductions
Date:
1923-1972
Scope and Contents note:
Collection consists of 157 8" x 10" black-and-white photographic copy prints of photographs in Frank Driggs's collection: Duke Ellington and his orchestra. Some copy prints have Smithsonian negative numbers.
Arrangement:
Collection arranged into ten series.
Biographical/Historical note:
Photographer and collector.
Related Materials:
Materials at Other Organizations

Jazz at Lincoln Center

The Frank Driggs Jazz Photograph Collection was acquired by Jazz at Lincoln Center in 2013. The collection also includes posters, sheet music, records and Frank Driggs' personal papers.
Provenance:
Collection donated by Frank Driggs, January 11, 1991.
Restrictions:
Collection is open for research.
Rights:
The Archives Center does not own rights to these photographs. Contact respository for details.
Topic:
Musicians -- United States  Search this
Music -- 20th century  Search this
Jazz musicians -- United States  Search this
Jazz  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Photographs -- 20th century
Copy prints
Reproductions
Citation:
Frank Driggs Collection of Duke Ellington Photographic Reference Prints, 1923-1972, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0389
See more items in:
Frank Driggs Collection of Duke Ellington Photographic Reference Prints [copy prints]
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8ff3effc9-0a98-4996-92d8-de36791c69d4
EDAN-URL:
ead_collection:sova-nmah-ac-0389
Online Media:

The Shamrock Bar: Photographs and Interviews by Carol Burch-Brown

Photographer:
Burch-Brown, Carol  Search this
Names:
Shamrock Bar (Bluefield, W.Va.)  Search this
Kilkelly, Ann  Search this
Extent:
1 Cubic foot (2 boxes )
Type:
Collection descriptions
Archival materials
Photographs
Transcripts
Compact discs
Digital images
Oral history
Interviews
Place:
Appalachian Region
West Virginia -- 1990-2000
Bluefield (W.Va.)
Date:
1997-2003
Summary:
The collection documents a working class "gay" bar, the Shamrock Bar, Bluefield, West Virginia, 1997-2000, through photographs and oral history interviews.
Scope and Contents:
The collection consists of Carol Burch-Brown's photographs (200 photoprints, mostly silver gelatin on fiber-base paper, but including more than a dozen digital prints), copies of tape-recorded interviews (on 26 compact discs), and transcripts of interviews (3 volumes plus a compact disc containing Word files) made at the Shamrock Bar, Bluefield, West Virginia, 1997-2002, documenting a working-class gay bar. The photographs include "drag" performances, pageants, and other activities at the bar. Many show performers applying makeup and donning costumes, including the use of prosthetic breasts. Pictures taken in the bar are often in a soft-focus, slightly blurred, high-contrast, impressionistic style. There are a number of sharp-focus portraits, however, and exterior views of the building, its neighborhood, and the town are sharply focused, detailed documentary images.

Names (usually pseudonyms or stage names) which turn up in the interviews include: Natasha Michaels, Nikki Eaves, Shea West, Cortney Collins, Taylor Made, India Dream, Clinton, Tiffany Aver, Terba Devero, Roxie Morehead, and Dorothy. The performer "Bunny" is actually the photographer's friend and colleague, Ann Kilkelly. Many of these persons are also shown in the photographs, as is Helen Compton.

Note: The audio compact disks are not original recordings, and may be played by researchers directly.
Arrangement:
The collection is divided into three series.

Series 1: Photoprints

Series 2: Text (including transcripts of interviews)

Series 3: Compact discs
Biography:
Carol Burch-Brown is Professor of Art and Humanities at Virginia Tech, Blacksburg, Virginia, and is a photographer, painter, and musician. Photographer and co-author with David Rigsbee, Trailers, University Press of Virginia, 1996.
Historical:
During its heyday, the Shamrock Bar in Bluefield, West Virginia was a gathering place for gays and lesbians. The photographer reported in March 2003, before donating this collection, that Miss Helen Compton, proprietor of the Shamrock, had died and the establishment had been closed.
Other Title:
It's Reigning Queens in Appalachia
Provenance:
Colection donated by Carol Burch-Brown, December 2003.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Reproduction restricted due to copyright. Requests will be referred to the photographer.
Topic:
Bisexuality  Search this
Working class  Search this
Homosexuality  Search this
Bars (Drinking establishments)  Search this
Gay artists -- Interviews  Search this
Lesbian and gay experience  Search this
Transvestism  Search this
Transvestites  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1990-2000
Transcripts
Compact discs
Photographs -- Digital prints -- 20th century
Digital images
Oral history -- 1990-2000
Interviews -- 1980-2000
Citation:
The Shamrock Bar: Photographs and Interviews by Carol Burch-Brown, 1997-2003, Archives Center, National Museum of American History. Gift of the artist.
Identifier:
NMAH.AC.0857
See more items in:
The Shamrock Bar: Photographs and Interviews by Carol Burch-Brown
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84adec4f5-b063-4386-a233-ab46b9cbb361
EDAN-URL:
ead_collection:sova-nmah-ac-0857
Online Media:

Sosa, Bromley and Aguilar and Associates Records

Advertiser:
Procter & Gamble Company  Search this
Mars, Incorporated  Search this
American Airlines  Search this
Burger King Corporation  Search this
Coca-Cola Company  Search this
Anheuser-Busch, Inc.  Search this
Creator:
Sosa, Lionel  Search this
Sosa, Bromley and Aguilar and Associates (San Antonio, Texas)  Search this
Aguilar, Adolfo  Search this
Bromley, Ernest W.  Search this
Extent:
14 Cubic feet (31 boxes and 1 map folder)
Type:
Collection descriptions
Archival materials
Oral history
Newsletters
Marketing records
Ephemera
Photographs
Commercials
Awards
Advertisements
Ledgers (account books)
Articles
Magazines (periodicals)
Place:
Texas -- 20th century
San Antonio (Tex.)
Date:
1981-1997
Summary:
The collection documents the work of the Sosa, Bromley and Aguilar and Associates advertising agency of San Antonio, Texas.
Scope and Contents:
The collection documents the work of the Sosa, Bromley and Aguilar and Associates advertising agency of San Antonio, Texas. They created advertising for large corporations such as Western Union, American Airlines, Coca-Cola, Mars, Procter and Gamble, Anheuser-Busch, and Burger King. Additionally, they worked on political campaigns for Republican candidates including George W. Bush and Ronald Reagan. Works created for local institutions such as the San Antonio Symphony and Incarnate Word High School are also represented in the collection. Sosa, Bromley and Aguilar were pioneers in developing advertising strategies to appeal to Latino consumers.

This collection includes internal corporate documentation such as awards, financial reports, marketing strategies, advertisement samples and newsletters, as well as newspaper and magazine articles. The majority of the collection consists of audiovisual materials in D2, BetacamSP, 3/4" U-Matic and 1" videotape formats. The audiovisual materials contain commercials, casting calls/auditions, director reels, public service announcements, focus groups sessions and more. Six hours of oral histories with the principals and transcriptions of the interviews are also included in the collection. Prominent sections of the collection include advertisements created for the Center for Disease Control to address misconceptions about AIDS in Latino communities, as well as photographs, an audiocassette, and public service announcements pertaining to the life and death of singer Selena Quintanilla-Pérez.
Arrangement:
This collection is divided into five series:

Series 1: Background Materials, 1980-2015

Series 2: Financial Materials, 1983-1989

Series 3: Clippings, 1988-1999

Series 4: Advertisements, 1988-1995

Series 5: Audiovisual Materials, 1988-1997
Biographical / Historical:
Lionel Sosa (b. 1939) is from San Antonio, Texas and is of Mexican descent. His first venture as an entrepreneur was starting a graphic design studio called Sosart which later developed into an advertising agency. Ernest Bromley (b.1951), of Puerto Rican and Canadian descent, joined the company in 1981 while employed at the University of Texas, San Antonio as a researcher. Bromley's background in acculturation, advertising and consumer research provided a unique perspective for the newly developed Sosa and Associates. Adolfo "Al" Aguilar (b. 1955), also of Mexican descent, studied advertising and marketing at the University of Texas, Austin. Aguilar worked for Coca-Cola's first Hispanic Marketing Department when he began meeting with Sosa and Bromley. Eventually, Aguilar helped bring the Coca-Cola account to Sosa Bromley and Associates. This successful transfer ultimately led to the development of Sosa, Bromley and Aguilar and Associates.
Related Materials:
Materials in the Archives Center:

López Negrete Communications Advertising Collection (NMAH.AC.1413)

Hector and Norma Orcí Advertising Agency Records (NMAH.AC.1384)

Association of Hispanic Advertising Agencies Collection (NMAH.AC.1343)

Dolores Valdes-Zacky Papers (NMAH.AC.1394)

Castor Advertising Corporation Collection (NMAH.AC.1461)

Spanish Language Television Collection (NMAH.AC.1404)

Goya Foods, Inc. Collection, 1960-2000 (NMAH.AC.0694)
Separated Materials:
Items relating to this collection were donated to the Division of Numismatics and Division of Work and Industry. See accessions: 2002.0007.0517 (Tetradrachm coin); 2015.0080.01 (1988 Clio Award Trophy Hispanic Advertising AIDS Campaign); 2015.0080.02 (Promotional Mug); 2015.0080.05 (Promotional Watch); 2016.3049.02 (1993 Clio Award for Hispanic Market Coca Cola Classic); 2015.0080.06 (1990 Adweek Plaque); 2015.0080.03 (1995 Selena Commemorative Pin).
Provenance:
Donated to the Archives Center in 2015, by Lionel Sosa, Ernest Bromley and Adolfo Aguilar.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Advertising campaigns  Search this
Advertising agencies -- 1980-2000  Search this
Advertising executives  Search this
advertising -- Soft drinks  Search this
advertising -- Food  Search this
advertising -- Confectionery  Search this
advertising -- Beverages  Search this
advertising -- Brand name products  Search this
advertising -- Audio-visual materials  Search this
advertising -- Alcoholic beverages  Search this
advertising -- 1980-2000  Search this
advertising -- Airlines  Search this
Minorities in advertising  Search this
Television advertising -- 1980-2000  Search this
advertising -- History  Search this
Genre/Form:
Oral history
Newsletters
Marketing records
Ephemera -- 20th century
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Commercials
Awards
Advertisements -- 1980-2000
Ledgers (account books)
Articles -- 20th century
Magazines (periodicals) -- 20th century
Citation:
Sosa, Bromley and Aguilar and Associates Records, 1981-1997, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1351
See more items in:
Sosa, Bromley and Aguilar and Associates Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a3bdd409-27fb-4e40-b857-c9c89be33190
EDAN-URL:
ead_collection:sova-nmah-ac-1351
Online Media:

Gordon R. Smith Kentucky Photoprints

Photographer:
Smith, Gordon R.  Search this
Extent:
0.1 Cubic feet (1 box, 7 items)
Type:
Collection descriptions
Archival materials
Photographs
Place:
Kentucky -- 1990-2000
Appalachian Region
Date:
1994
Summary:
Photographs from a project entitled "Kentucky Coal Country," in which photographer Gordon Smith concentrates on economic and social factors in Kentucky. The photographs document poverty, erosion of the land through strip mining, and other harsh realities in Kentucky.
Scope and Contents:
The seven photographs in this group are all from a project entitled "Kentucky Coal Country," in which Gordon Smith concentrates on economic and social factors in Kentucky. They powerfully and starkly document poverty, erosion of the land through strip mining, and other harsh realities in Kentucky. All negatives were made in 1994, but these prints were made by Smith in late 1998 and/or early 1999. All are silver gelatin, printed on 16" x 20" paper, and are unmounted. Included with the prints are copies of the artist's project description and a caption list with his comments for forty images in the series.

Smith's photographs depict the Appalachian region of Kentucky, whose residents remain among the poorest in the nation. "This region, whose underground fortunes are still being ruthlessly plundered, now faces a near lifeless economy patched together by low paying service jobs, food stamps and welfare cheques," he writes. "...[The] Appalachian Regional Commission has overseen the spending of huge quantities of taxpayer dollars in an effort to penetrate the economic, geographic and cultural isolation of this mountainous region... Two thirds of these funds have been absorbed by road construction efforts which appear to have been more beneficial to local contractors and the coal and lumber industries than the population at large. The lavish spending program has had little effect in transforming the area's coal-linked economic base... The state of Kentucky has been particularly hard hit." Smith's photographs indicate his concerns about the devastation of both the land and the people in the Appalachian region of Kentucky. The photographs in this selection vividly show the effects of strip mining, as well as people living in poverty. "Machines have stolen forever the jobs that kept this land alive," he comments. "...As communities perish and families are split apart, one of America's oldest and least understood cultures is in danger of being wiped away..."
Arrangement:
The collection is arranged into two series.

Series 1: Documents,

Series 2: Photographs,
Biographical / Historical:
Gordon R. Smith is an American photojournalist whose photographs are in the collections of the Library of Congress, the Bibliothèque Nationale (Paris), the Philadelphia Museum of Art, the Center for Creative Photography (Tucson, Arizona), the Houston Museum of Fine Arts, and many other American and European collections. He has been included in many group exhibitions, and he has had solo exhibitions in galleries in the United States, Canada, Colombia, Denmark, France, Germany, and the Netherlands. He has received grants from the Pennsylvania Council on the Arts (Visual Arts Fellowship, 1994) and Eastman Kodak Company (Materials Grant, 1990).

His work has been published in the Washington Post, New York Newsday, The Philadelphia Inquirer, Photographer's Forum, S F Camerawork, Photo Metro, The Photo Review, Camera Austria, and other newspapers and magazines. He is based in Pennsylvania.
Provenance:
Collection donated by Gordon R. Smith,1999, January 25.
Restrictions:
Collection is open for research.
Rights:
Photographer holds copyrights. Reproduction permission from artist; contact information upon request.
Topic:
Coal mines and mining -- 1990-2000 -- Kentucky  Search this
Strip mining -- Environmental aspects -- 1990-2000 -- Kentucky  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Citation:
Gordon R. Smith Kentucky Photoprints, 1994, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0700
See more items in:
Gordon R. Smith Kentucky Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8f9debe70-3904-497d-8057-c65320a96187
EDAN-URL:
ead_collection:sova-nmah-ac-0700
Online Media:

Computer World Smithsonian Awards

Creator:
Smithsonian Institution  Search this
Computerworld Magazine.  Search this
Former owner:
National Museum of American History (U.S.). Division of Computers, Information and Society  Search this
Extent:
145 Cubic feet (341 document boxes)
Type:
Collection descriptions
Archival materials
Videotapes
Software
Questionnaires
Photographs
Interviews
Essays
Date:
1989-2000
Summary:
Collection documents an awards program established in 1989 as a partnership between Computerworld Magazine and the Smithsonian Institution. The Computer World Smithsonian Awards (CWSA) brought together the Chairmen of Chief Executive Officers of the world's foremost information technology companies with the world's leading universities, libraries and research institutions to document a revolution in progress—the global information technology revolution. The program identified men, women, organizations and institutions leading the technology revolution and asked them to contribute case studies. Collection consists of case studies which include questionnaires, essays, oral histories, conference proceedings, publications, video tapes, photographs, slides, software, and product samples about each project.
Scope and Contents:
An important part of the award process was that nominees actively created the permanent record of their work, for inclusion in the permanent CWSA archives at the Smithsonian. Strict guidelines were set up to ensure that a complete record was created. Each nomination had to be in the form of a packet of primary source materials about the project. Nominees were instructed on the types of materials to include and were required to answer a standard questionnaire and write an essay about the significance of the project. As a result, each case study includes a wealth of information about the project, including oral histories, conference proceedings, publications, video tapes, photographs and slides, software, examples of the product generated, and other records, as well as the standardized information required by the program. The collection is arranged into thirteen series chronologically.
Arrangement:
Collection is arranged into thirteen series.

Series 1, General

Series 2, 1989

Series, 3, 1990

Series 4, 1991

Series 5, 1992

Series 6, 1993

Series 7, 1994

Series 8, 1995

Series 9, 1996

Series 10, 1997

Series 11, 1998

Series 12, 1999

Series 13, 2000
Biographical / Historical:
Established in 1989 as a partnership between Computerworld Magazine and the Smithsonian Institution, the Computer World Smithsonian Awards (CWSA) Program brought together the Chairmen or Chief Executive Officers of the world's foremost information technology companies with the world's leading universities, libraries and research institutions to document a revolution in progress: the global information technology revolution.

The awards program was dedicated to identifying the men and women, organizations and institutions, that were leading this revolution and to recording the impact of their achievements on society. The first awards were presented in 1991 during a ceremony at NMAH. According to that year's press release, the CWSA awards were created to "recognize heroes of technological innovation, to demystify public perceptions of technology and to clearly identify the benefits technology brings to the lives of the general public."

Over the course of each year, members of the Chairmen's Committee would identify those organizations whose use of information technology had been especially noteworthy for the originality of its conception, the breadth of its vision, and the significance of its benefit to society. Those organizations were asked to contribute a case study regarding their project to the CWSA collection, which was to be housed at the Smithsonian's NMAH. Nominated projects were sorted into ten categories and winners were selected by a panel of distinguished representatives in each specialty. The first year's categories were: business and related services; education and academia; environment, education and agriculture; finance, insurance and real estate; government and non-profit organizations; manufacturing; media, arts and entertainment; medicine and health care; and transportation. The categories changed slightly over the years as the process was refined.

In 2001, the Smithsonian decided to sever its affiliation with the CWSA program. The program continued under the sole auspices of Computerworld magazine, without any Smithsonian connection. New case studies now "become part of the broader, worldwide collection, archived on the world wide web and also presented, in a variety of formats, to archives, museums, universities and libraries in each of the more than 40 countries on six continents represented by the award winners," according to their website (http://www.cwheroes.org/home.asp).
Related Materials:
The Division Information, Technology and Society (now Division of Medicine and Science) holds significant artifacts included with the nomination packets.
Provenance:
Division of the History of Technology
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Copyright held by donor and/or heirs. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.] .
Topic:
Computers  Search this
Genre/Form:
Videotapes -- 1990-2000
Videotapes -- 1980-1990
Software
Questionnaires
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Interviews -- 1980-2000
Essays
Citation:
The Computer World Smithsonian Awards, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0425
See more items in:
Computer World Smithsonian Awards
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep838c7c38a-0ea0-48ec-b037-fd731bee3444
EDAN-URL:
ead_collection:sova-nmah-ac-0425
Online Media:

Barbara Beirne Portrait Photoprints

Creator:
Beirne, Barbara T.  Search this
Names:
Anderson, Kay  Search this
Baker, Dave  Search this
Berrigan, Philip  Search this
Bolden, Jackie  Search this
Cleaver, Eldridge, 1935-1998  Search this
Coffin, William Sloane  Search this
De Gennaro, Jane  Search this
Garrell, Nancy  Search this
Hawk, David  Search this
Hoffman, Bruce  Search this
Keegan, Leone  Search this
Knight, Dee  Search this
Lewis, John  Search this
Libby, John  Search this
McAllister, Elizabeth  Search this
McNamara, Craig  Search this
Montfort, Bill  Search this
Montfort, Susan  Search this
Moore, Irma  Search this
Rubin, Jerry  Search this
Simon, Doug  Search this
Extent:
0.1 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1980s
Summary:
Twenty portraits, taken in the 1980s, of twenty-one men and women who were active in the civil rights and peace movements of the 1960s.
Scope and Contents:
The collection consists of twenty silver gelatin prints, as described on the container list attached. These are exhibition-quality prints, matted, signed by the artist, with subject identification. The prints are arranged in no particular order, but are numbered according to the list. Note that each print therefore has an individual museum catalog number, e.g., 1991.0886.01- unlike the majority of Archive Center collections--and these numbers should be referenced in exhibition and loan transactions.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
Barbara T. Beirne hold a Master of Fine Arts in Photography form Pratt Institute, Brooklyn New York, and a Bachelor of Fine Arts form Marymount College, Tarrytown, New York. She has been a free-lance photographer, working extensively for non-profit organizations, corporations and newspapers, has shown her work in many solo and group exhibitions, and has been photographer and/or author of a number of children's books (see bibliography, She photographed the subjects of this portfolio for a book by J. and R. Morrison, From Camelot to Kent State.

Ms. Beirne has been a teacher and lecturer in numerous school and libraries in New York, New Jersey, and Pennsylvania, and at this writing is an adjunct professor of photography at County College of Morris, Randolph, New Jersey.
Historical:
In 1985, Joan Morrison and her son Robert K. Morrison conducted approximately one hundred oral history interviews with a wide variety of Americans about their experiences during the 1960s. They also collected photographs of the interviewees--pictures taken during the 1960s and other taken at the time of the interview. Portions of some of these interviews and the photographs are published in their 1987 book, mentioned above. Some of the new photographs, taken by Barbara T. Bierne, were exhibited at the Bridge Gallery, The New School, New York City, from Oct. 2 to Oct 31, 1998. The Morrison collection of audiotapes, transcripts, and other materials form this project was donated to the Archives Center as Collection no. 359. Later in 1991, Barbara Beirne donated twenty exhibition quality, matted photographs from this project (the Morrison Collection was received first, and the earlier number for the Beirne Collection is due to the recycling of an unused number). These prints apparently were made in 1989 and were included in the New School exhibition.

Bibliography

Author and photographer, A Pianist's Debut. Carlrhoda Books, 1990. Author and photographer, Under the Lights. Carlrhoda Books, 1988.

Photographer, What Do You Mean I Have a Learning Disability? Walker Publishers, 1991.

Photographer, Water is Wet. G.P. Putnam's Sons, 1985.

Photographs in: Joan and Robert K. Morrison. From Camelot to Kent State: The Sixties Experience in the Worlds of Those Who Lived It. New York: Times Books, 1987.
Provenance:
Collection donated by Barbara T. Beirne, September 6, 1991.
Restrictions:
Collection is open for research.
Rights:
Barbara Beirne retains copyright. A nonexclusive license was conveyed to the Archives Center through a Deed of Gift signed by the donor. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Vietnam War, 1961-1975 -- Protest Movements  Search this
Civil rights  Search this
Peace movements -- 1960-1970  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000
Citation:
Barbara Beirne Portrait Photoprints, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0356
See more items in:
Barbara Beirne Portrait Photoprints
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep821bc12f2-560d-429c-8704-1ac336f36c52
EDAN-URL:
ead_collection:sova-nmah-ac-0356
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