Arensberg, Conrad M. (Conrad Maynadier), 1910-1997 Search this
Extent:
108.29 Linear feet
Type:
Collection descriptions
Archival materials
Place:
New York (State) -- New York City
New Jersey -- Newark
Date:
circa 1930-2009
bulk 1960-1993
Summary:
Vivian E. Garrison was an applied medical anthropologist who researched the cultural understandings and community treatment structures surrounding mental illness and mental health care among low-income, minority, and migrant communities of the New York metropolitan area. The Vivian E. Garrison papers document this research and consist of clinical and case files; research policies and protocols; presentations and workshops notes; manuscripts and drafts; publications and working papers; correspondence; grant applications; administrative files; sound recordings and films; annotated scholarly literature; and personal biographical material.
Scope and Contents:
The papers of Vivian E. Garrison, circa 1930-2009 (bulk 1960-1993) document her work as an applied medical anthropologist in the New York metropolitan area. Garrison studied and published on the cultural understandings and community treatment structures surrounding mental illness and mental health care among low-income, minority, and migrant communities. The collection includes clinical and case files, sound recordings, and films; research policies and protocols; presentations and workshop notes and recordings; manuscripts and drafts; publications and working papers; correspondence; grant applications; administrative files; annotated scholarly literature (reprints and books); and personal biographical material.
The bulk of material in the collection relates to Garrison's research under and administration of different research grants focusing on community mental health care in the greater New York City area. As a research scientist at the Lincoln Hospital Mental Health Services (LHMHS), Garrison undertook anthropological research under the National Institute of Mental Health (NIMH) grant, "Study of Neighborhood Centers and Mental Health Aides" (1965-1969). The research completed at LHMHS was used in her dissertation (1971). Garrison continued her studies of the South Bronx populations at the Columbia-Bronx Research Center as principal investigator under the NIMH grant, "Folk Healers and Community Mental Health Programming" (1972-1975). She built upon that research as the director and principal investigator of the U.S. Public Health Grant "Inner-City Support Systems" (ICSS) from 1976-1982, run through the College (later University) of Medicine and Dentistry of New Jersey (C/UMDNJ). Within the Resource Center for Multicultural Care and Prevention (RCMCP) at UMDNJ (born out of the ICSS program), Garrison administered the NIMH grant "Community Support Systems of Haitian Immigrants," (CSSHI) which transferred to Columbia University in 1984. Garrison's research under these and other grants was typically undertaken in concert with anthropological colleagues, community consultants, and medical professionals. The materials in this collection reflect the collaborative nature of this research process, as well as Garrison's administrative role at the ICSS project at UMDNJ. Some research notes, case files, and manuscript drafts of colleagues and contributors are present in this collection.
The collection also contains personal biographical, medical, and historical material documenting the lives of Vivian Garrison and her husband, anthropologist Conrad M. Arensberg. Much of this material relates to Arensberg's medical history and care in the last years of his life, as meticulously recorded and analyzed by Garrison. Personal material in the collection also relates to the preservation and destruction of her historic home in Rumson, New Jersey (the Morris-Salter-Hartshorn-Tredwell House).
Arrangement:
The Vivian E. Garrison papers are arranged into the following 10 series:
Series 1: Lincoln Hospital Mental Health Services, circa 1960-1973
Series 2: Columbia University Bronx Research Center, circa 1968-1977
Series 3: Inner-City Support System Project, circa 1968-1997
Series 4: Community Support Systems of Haitian Immigrants, circa 1973-1988
Series 5: Publications, manuscripts, and associated research files, circa 1960-2005
Series 6: Presentations, workshops, and conferences, 1969-2000
Series 7: Professional development files, 1955-2008
Series 8: Personal files, circa 1930-2009
Series 9: Scholarly literature and bibliographies, circa 1970s-1980s, undated
Series 10: Unprocessed material
Biographical Note:
Vivian Eva Garrison, known as "Kelly" to friends and colleagues, was an applied medical anthropologist who researched the cultural understandings and community treatment structures surrounding mental illness and mental health care among low-income, minority, and migrant communities the New York metropolitan area. She worked predominantly with African American, Hispanic, and Caribbean migrant populations in the South Bronx and in Newark, New Jersey.
Garrison was born on August 28, 1933 in Butte, Montana. She earned a B.A. in Spanish and psychology from New York University in 1961 and a Ph.D. in anthropology from Columbia University in 1972. Her dissertation, Social Networks, Social Change and Mental Health among Migrants in a New York City Slum, was completed in 1971.
Garrison conducted her research under the purview of various federal and state grants to examine community mental health care. The majority of her research was completed at Lincoln Hospital in the Bronx, at the College/University of Medicine and Dentistry of New Jersey, and at Columbia University.
Throughout her career, Garrison acted as a consultant in matters of folk healing and community health care and published frequently on folk healing, espiritismo, psychiatry, and psychiatric methodology. She taught intermittently, including teaching one semester of Margaret Mead's "Problems and Methods in Anthropology" course at Columbia University (1979). She also contributed to the President's Commission on Mental Health in 1977-1978.
Garrison married anthropologist Conrad M. Arensberg in 1973 and died in April 2013 at the age of 79.
Chronology
1933 August 28 -- Born in Butte, Montana
1961 -- B.A. New York University (Spanish and Psychology)
1965-1969 -- Research Scientist, National Institute of Mental Health (NIMH) Grant "Study of Neighborhood Centers and Mental Health Aides," Lincoln Hospital Mental Health Services, Yeshiva University Albert Einstein College of Medicine
1969-1972 -- Assistant Professor and Staff Member, Program Information and Assessment Section, Connecticut Mental Health Center, Department of Psychiatry, Yale University School of Medicine
1972 -- Ph.D. Columbia University (Anthropology)
1972-1973 -- Senior Research Associate, Department of Anthropology, Columbia University
1972-1975 -- Senior Research Associate and Principal Investigator, NIMH Grant "Folk Healers and Community Mental Health Programming," Department of Anthropology, Columbia University
1973 -- Married Conrad M. Arensberg
1974-1985 -- Assistant to Associate Professor of Psychiatry and Mental Health Science, University of Medicine and Dentistry of New Jersey (UMDNJ), New Jersey Medical School
1976-1982 -- Principal Investigator, U.S. Public Health Grant "Inner-City Support Systems," UMDNJ
1979 -- Senior Lecturer, Department of Anthropology, Columbia University,
1980-1984 -- Director, Resource Center for Multicultural Care and Prevention, UMDNJ
1982-1984 -- Principal Investigator and Director, NIMH Grant "Community Support Systems of Haitian Immigrants," UMNDJ
1982-1984 -- Project Director, "Culturally Sensitive Case Management Training," State of New Jersey, Division of Mental Health and Hospitals, UMDNJ
1983-1986 -- Associate Research Scholar, Department of Anthropology, Columbia University
1984-1985 -- Principal Investigator, U.S. Public Health Grant "Community Support Systems of Haitian Immigrants," Columbia University
1984-? -- Visiting Associate Professor of Psychiatry, Charles R. Drew Postgraduate Medical School, King/Drew Medical Center
1986-? -- Senior Research Associate, Teachers College, Columbia University, Institute for Urban and Minority Education
2013 April 2 -- Died
Orthography:
This finding aid uses "Vodou" as the primary term when referring to the African diasporic religion developed in Hait. However Vivian Garrison sometimes used the racist term "Voodoo" in her research materials. Garrison's descriptions on the physical folder have not be altered.
Related Materials:
Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution
Separated Materials:
The films in this collection have been transferred to the Human Studies Film Archives, accession number HSFA/NAFC 2017-013. They are described in this finding aid.
Provenance:
These papers were donated to the National Anthropological Archives by the estate of Vivian Garrison Arensberg in 2017.
Restrictions:
The Vivian E. Garrison papers are open for research.
Certain materials in the collection contain personally identifiable information (PII) and personal health information (PHI). These materials are restricted for 80 years from the date of their creation. Restricted materials are noted in the following finding aid and have been removed to boxes 54-61.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Original audiovisual material in the Human Studies Film Archives may not be played. Please contact the archives for information on availability of access copies of audiovisual recordings.
Access to the Vivian E. Garrison papers requires an appointment.
Quotes and excerpts must be cited as follows: Oral history interview with Hiram Maristany, 2021 August 8-10. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Juan Sánchez, 2018 October 1-2. Archives of American Art, Smithsonian Institution.
3 Items (mp4 video files (6 hrs., 49 min.), digital)
142 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Video recordings
Place:
East Harlem (New York, N.Y.)
Date:
2021 August 8-10
Scope and Contents:
An interview with Hiram Maristany conducted 2021 August 8-10, by E. Carmen Ramos for the Archives of American Art, at Maristany's home in El Barrio, NY.
Biographical / Historical:
Hiram Maristany (1945-2022) was a Puerto Rican American photographer in El Barrio, New York. Maristany was known for his street photography with activist and documentary inflections that reflect the Latinx community of New York City.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- New York (State) -- New York Search this
An interview with Juan Sánchez conducted 2018 October 1-2, by Josh T. Franco, for the Archives of American Art, at Sánchez studio, in Brooklyn, New York.
Sanchez speaks of his childhood in Puerto Rican enclaves of Brooklyn; formative experiences with Nuyorican poets; early memories of Puerto Rico; his earliest interest in drawing from comic books; early art-making and art education experiences, including the Pratt Saturday program; encountering Taller Boricua during the time he studied at Cooper Union; drawing formative inspiration from En Foco's photography; flourishing after initial difficulties at Cooper Union; his graduate studies at Mason Gross School of the Arts at Rutgers University; his early exhibition experiences; his negative experience of participating in Group Material's exhibition Americana; reflections on political art; his friendship with Ana Mendieta; his collaborations with MoCHA , INTAR gallery, and Exit Art; the development of his painting, photography, and collage aesthetics through graduate school; the personal and emotional dimension of his art-making process; his use of circles and photographs of heroic historical figures in his paintings; the development and execution of his public art commissions; the development of his teaching career; his experiences working at the Queens Museum education department and Cooper Union admissions department; specific controversies over the content of his work being shown at Princeton University and SUNY Stony Brook; the development and execution of his printmaking practice; and his reflections on the experience and importance of participating in an oral history interview. Sanchez also recalls Amiri Baraka, Sandra María Esteves, Louis Reyes Rivera, Pedro Pietri, Gilbert Hernandez, Jorge Soto, Hans Haacke, Reuben Kadish, Eugene Tulchin, Charles Biasiny, Leon Golub, Larry Fink, Robert Blackburn, Mel Edwards, Doug Ashford, Jimmie Durham, Nancy Spero, Lucy Lippard, Geno Rodriguez, Papo Colo, Jayne Cortez, Carl Andre, Ana Mendieta, Raquelín Mendieta, Noah Jemison, Inverna Lockpez, Nilda Peraza, James Luna, Julia Hirschberg, Susana Leval, Miguel Algarín, Jeanetter Ingberman, Jolie Guy, Susan Bloodworth, Zachary Fabri, Gilbert Cardenas, Jeanne Moutoussamy-Ashe, Michael Brathwaite, Alfredo Jaar, Tomie Arai, Lorenzo Clayton, Joan Hall, Pepe Coronado, Maryanne Simmons, and Melquiades Rosario Sastre.
Biographical / Historical:
Juan Sánchez (1954- ) is a printmaker, muralist, painter, and teacher in Brooklyn, New York. Josh T. Franco (1985- ) is the National Collector, Archives of American Art, Smithsonian Institution, Washington, D.C.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- New York -- Interviews Search this
Home movies documenting various events in a small, close-knit, South Bronx, New York community of Puerto Ricans who came to the mainland U.S. in the 1920s and 1930s. The films depict birthdays, weddings and Christmas celebrations.
Scope and Contents:
These films, created by Manuel Quiles, document a small community of Puerto Rican immigrants who arrived in the United States during the 1920s and 1930s. These Puerto Rican families were located mostly in the South Bronx, New York. The films contain footage of family gatherings and holiday celebrations, as well as family trips to the Bronx Zoo, the Macy's Thanksgiving Day Parade, the 1964-1965 New York World's Fair, and Mexico.
Arrangement:
The collection is organized into one series that contains all films and videos. The original order of each reel of film was retained. The reels are organized chronologically.
Biographical / Historical:
Manuel Ismael Quiles (June 17, 1908 - October 1989) grew up in Puerto Rico and the Dominican Republic, and moved with his family to the U.S. in the 1920s. Throughout his life, Quiles worked in a number of professions that allowed him to use his artistic talents. During the Depression he traveled to Chicago and joined the Civilian Conservation Corps, which sent him to Wyoming to work as a photographer for a newspaper. Later he returned to New York City and studied tool and die, machine, and patent model making at Gompers High School. After World War II, Quiles continued to pursue his artistic interests by working as a silk screen artist for a sign and showcase company. Later, he designed Spanish greeting cards and created labels for products sold in religious and botanical stores. Throughout his lifetime Quiles worked as a photographer, camera maker, silk screen artist, sculptor, locksmith, and wood carver.
Eventually Manuel Quiles gained recognition as an artist through his relationship with Jay Johnson, the owner of America's Folk Heritage Gallery. Quiles began to sell and exhibit his work at Johnson's New York gallery. When working on his sculptures, Quiles relied on woodworking skills he learned as a child from his cousin, a cabinet maker in Puerto Rico. References to his art work can be found in both Jay Johnson's American Folk Art of the Twentieth Century and Carolyn Morrow Long's Spiritual Merchants: Religion, Magic, and Commerce.
Provenance:
Donated by Mario Quilles and Priscilla Q. Wood in 2001.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected films must be handled 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.
New York (N.Y.). Department of Cultural Affairs Search this
Extent:
10.1 Linear feet
0.947 Gigabytes (ER01-ER04)
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Video recordings
Date:
circa 1900-1998
bulk 1970-1996
Summary:
The papers of Puerto Rican arts administrator and artist Luis Cancel measure 10.1 linear feet and .947 gigabytes and date from circa 1900 to 1998 with the bulk of the material dating from 1970 to 1996. The collection is comprised of biographical material, professional files, arts administration records documenting his directorship at the Bronx Museum of the Arts and as Commissioner for the Department of Cultural Affairs in New York, subject and artist's files, files for the exhibition Legacy / Legado, printed materials, word processing documents, digital photographs, and unidentified sound recordings.
Scope and Contents:
The papers of Puerto Rican arts administrator and artist Luis Cancel measure 10.1 linear feet and .947 gigabytes and date from circa 1900 to 1998 with the bulk of the material dating from 1970 to 1996. The collection is comprised of biographical material, professional files, arts administration records documenting his directorship at the Bronx Museum of the Arts and as Commissioner for the Department of Cultural Affairs in New York, subject and artist's files, files for the exhibition Legacy / Legado, printed materials, word processing documents, digital photographs, and unidentified sound recordings.
Biographical material contains two appointment books, awards, certificates, diplomas, a pin, real estate documents, resumes, a watercolor, and Cancel's writings. Files for committees, councils, consulting work, academic work, exhibitions, lectures, and various projects as well as a video recording are among Cancel's professional files. Arts administration records consist of files for the Bronx Museum of the Arts and the Department of Cultural Affairs. Subject files include printed material, two video recordings, and a small amount of other material on topics of interest to Cancel. Files on artists contain printed material, photographs, resumes, cross reference notes, and other material.
The Legacy / Legado exhibition files include announcements, invitations, budgets, artist's files, administrative records, and photographic materials. Printed material consists of business cards, booklets, brochures, flyers, invitations, newsletters, magazines, and clippings. Photographic materials are of Cancel with colleagues, family, travel, and works of art. Two unidentified sound recordings are in the last series.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, 1970-1994 (0.3 linear feet; Box 1, OV 12)
Series 2: Professional Files, 1973-1998 (3.4 linear feet; Boxes 1-5)
Series 3: Arts Administration Records, 1972-1997 (4.1 linear feet; Boxes 5-8, OV 12, 14)
Series 4: Subject Files, 1973-1996 (0.4 linear feet; Boxes 8-9)
Series 5: Artist Files, 1952-1991 (0.5 linear feet; Box 9, 11, OV 12)
Series 6: -- Legacy / Legado -- Exhibition Files, 1985-1996 (0.8 linear feet; Box 9-11)
Series 7: Printed Material, 1976-1992 (0.2 linear feet; Box 10, OV 13)
Series 8: Photographic Material, circa 1900-circa 1990 (0.3 linear feet; Box 10-11)
Series 9: Unidentified Sound Recordings, circa 1980s (1 folder; Box 11)
Biographical / Historical:
Luis Cancel (1952-) is a Puerto Rican arts administrator and artist from New York City, N.Y.
Cancel attended Fiorello H. La Guardia High School for Music and Art before earning his bachelor of arts degree in painting and printmaking from Pratt Institute. During his last year at Pratt, he studied in Puerto Rico at the University of Puerto Rico. Cancel continued his research on Puerto Rico through a fellowship with the American Friends Service Committee Reciprocal Youth Project in Puerto Rico. Cancel's research resulted in a multifaceted presentation titled Puerto Rico: Its People and Its Artists. He continued his education receiving master of arts degrees from New York University in arts administration and from Harvard University's John F. Kennedy School of Government in public administration. Cancel also attended classes on educational software design and CD-ROM production at the Massachusetts Institute of Technology.
After finishing his studies, Cancel became gallery director at the Cayman Gallery in New York from 1975 to 1977. In 1978, he became the executive director of the Bronx Museum of the Arts. In his 13 years at the Bronx Museum, Cancel organized numerous exhibitions including The Latin American Spirit: Art and Artists in the United States 1920-1970, Devastation/Resurrection: The South Bronx, and Krishna Reddy: A Retrospective. He was also granted a fellowship from the National Endowment for the Arts to travel throughout Latin America to research art and build relationships with significant museums and galleries. Cancel left the Bronx Museum in 1991 to begin his tenure as Commissioner of New York City's Department of Cultural Affairs where he worked with Mayor David Dinkins to enhance support for the city's arts.
In the 2000s, Cancel was also the executive director of the Clemente Soto Vélez Cultural Center, the Director of Cultural Affairs in San Francisco, was appointed by United States Representative Nancy Pelosi to the National Museum of the American Latino Commission, and established a cultural consulting company. He is currently the CEO at the Hispanic Heritage Baseball Museum Hall of Fame.
Provenance:
The papers were donated by Luis Cancel in 2000.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Occupation:
Arts administrators -- New York (State) -- New York Search this
Art museum directors -- New York (State) -- New York Search this
Topic:
Artists -- New York (State) -- New York Search this
The papers of Diogenes Ballester measure 6.0 linear feet, and date from 1973 to 2020. The papers document his career as an artist, educator, and writer through correspondence with family friends, and various museums and galleries; notes, drafts of articles, drafts of lecture and presentation transcripts, and other writings; inventories, price lists, ledger books, and other personal business records; resumes, artist statements, exhibition files, and other professional activity files; clippings, articles, exhibition announcements and catalogs, and other printed material; and photographs and slides of Ballester, some of his family and friends, and of some of his artwork.
Scope and Contents:
The papers of Diogenes Ballester measure 6.0 linear feet, and date from 1973 to 2020. The papers document his career as an artist, educator, and writer through correspondence with family and friends, and various museums and galleries; notes, drafts of articles, drafts of lecture and presentation transcripts, and other writings; inventories, price lists, ledger books, and other personal business records; resumes, artist statements, exhibition files, and other professional activity files; clippings, articles, exhibition announcements and catalogs, and other printed material; and photographs and slides of Ballester, some of his family and friends, and of some of his artwork.
Correspondence includes letters from his wife, Maria Boncher, artist Marshall Weber, cover letters, letter of recommendation, and letters with various museums and galleries. Also included is a booklet of letters and drawings from students at Project YES, an arts program for children.
Writings include drafts for articles written by Ballester, articles written by Shifra Goldman, drafts for a book on Ballester and drafts lectures and presentations given by Ballester. Also included are a number of notepads and miscellaneous notes.
Personal business records consist of inventories and price lists, invoices, two ledger books, copies of checks and receipts, and proposals and blueprints for the establishment of an artist-in-residency program in Puerto Rico.
Professional activity files consist of exhibitions that Ballester participated in at various biennials in graphic arts around the world. Some of these locations include San Juan, Puerto Rico; Krakow, Poland; and Taipei. Among the materials on biennials are a number of files pertaining to the San Juan Biennial on Printmaking from 1986 to 2010. These files contain lecture transcripts, clippings, articles by Ballester and others, draft exhibition catalogs, and notes. Also included are some exhibition files for exhibitions held at museums in the United States, proposals for exhibitions, artist statements, resumes, and binders documenting his professional career. The binders contain resumes, artist statements and narratives, some exhibition announcements and press releases, and photographs of artwork. Also included are some sketches by Ballester.
Printed material consists of articles on and written by Ballester, clippings, newsletters, exhibition announcements, exhibition catalogs, press releases, and posters.
Photographic material consists of photographs of Ballester, photographs of Ballester with friends and family, photographs of an exhibition, and photographs and slides of artwork.
Arrangement:
The collection is arranged into six series.
Series 1: Correspondence, 1984-2016 (0.5 linear feet; Box 1)
Series 2: Writings, 1983-2020 (0.9 linear feet; Boxes 1-2)
Series 3: Personal Business Records, 1983-2018 (0.4 linear feet; Box 2)
Series 4: Professional Activity Files, 1973-2018 (2.5 linear feet; Boxes 2-5)
Series 5: Printed Material, 1975-2020 (1.1 linear feet; Boxes 5-6)
Series 6: Photographic Material, circa 1990-2011 (0.6 linear feet; Box 6)
Biographical / Historical:
Diógenes Ballester (1956- ) is an artist based in New York City, with deep roots in Puerto Rico, where he is also regularly present. His studio in El Barrio has operated since 1987 and he is a prominent artist, teacher, and writer particularly in Puerto Rican and Nuyorican artistic communities.
Ballester works in different artistic media including painting, printmaking, drawing, new media, and installation art and is recognized as a master of encaustic painting and printmaking. He has received numerous honors for his artistic work and has exhibited widely in the United States, Europe, Asia, Latin America and the Caribbean.
Provenance:
Donated in 2022 by Diógenes Ballester.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Artists -- New York (State) -- New York Search this
