104 Film reels (black-and-white color silent sound; 57,400 feet, 16mm)
Linear feet
Type:
Collection descriptions
Archival materials
Film reels
Sound films
Place:
Europe
Andalusia (Spain)
Date:
1969-1982
Scope and Contents:
Edited films films by Jerome Mintz made in Casa Viejas, Andalusia, Spain: Pepe's Family, The Shoemaker, Romeria: Day of the Virgin, Carnaval de Pueblo, The Shepherd's Family, Perico: the Bowlmaker and film outtakes associated with these six titles. Collection also contains audio tapes and still photographs.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Biographical / Historical:
Jerome R. Mintz was a professor of anthropology and Jewish studies at Indiana University. He earned a B.A. from Brooklyn College, an M.A. from the City University of New York, and a Ph.D. from Indiana University. Mintz received the National Jewish Book Award in 1993 for "Hasidic People: A Place in the New World." He also received international recognition for his work in Andalusia, Spain. His book "The Anarchists of Casas Viejas" (1982) is considered the most comprehensive account of the tragic events surrounding the 1933 uprising in the small rural town of Casas Viejas. Mintz produced six films on tradition and change in Andalusia, Spain.
Related Materials:
The Jerome R. Mintz papers are in the National Anthropological Archives, Smithsonian Institution.
Provenance:
Received from Carla Aviva Mintz Tavel and Betty Mintz in 2011.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
L'amour anarchiste ; Petit poucet ; Les cailloux ; Sur la grand'route ; Le petit qui pleure ; Le patois de chez nous ; Les mangeux d'terre ; Le Toinon ; Les conscrits ; Le fondeur de canons ; La complainte des ramasseurs d'morts ; Grand'merre ga.teau ; Sur un air de reproche ; Le pauvre gars ; La complainte des terr'-neuvas ; Les mageurs d'terre ; La dernierre bouteille
Local Numbers:
FW-ASCH-LP-3125
Le Chant Du Monde.74700
Publication, Distribution, Etc. (Imprint):
France Chant du Monde, Le
General:
Gerrard Pierron and Marc Robine
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Anarchistic atheistic mechanistic blues--Everyday slob--Different knid--Time--Call it a revolution--Autumnal circumstrance--A nais nun--Perfect song
Local Numbers:
FW-ASCH-7RR-1692
General:
Folkways 5565
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Record labels, correspondence, label copies, label proofs
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Photographs, liner notes draft, liner notes copy, sales records
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
One journal-style volume, quarter-bound black pebble-grained cloth with brown marbled paper boards. Approximately 200 pages, mostly filled with handwritten notes. Paper onlay on the front cover bears the handwritten inscription "Notes taken before Mr. Freer's collection in Detroit -- some amount is [?] -- mostly [?] lantern slides." Inside front cover has the bookplate of Ernest K. Fenollosa; the bookplate also bears the ink signature "Mary McNeil Fenollosa (Sidney McCall)" and the ink stamp of the Freer Gallery of Art, Washington D.C. Loosely inserted at the beginning of the journal is an undated receipt for the purchase of several items from the Walpole Galleries in New York City.
The first part of the journal, dated November 1907, contains approximately 104 pages of notes, presumably written in Fenollosa's hand. On the back cover, another paper slip bears the inscription "This end of the note book to be used for a list of Illustrations from Stokes' prints to be sent Mr. Heinemann -- begun March 16th 1911." From this point, a new set of notes begins, written after Fenollosa's death and consisting of approximately 34 pages.
Notes taken before Mr. Freer's collection in Detroit
Arrangement:
Organized in one flat box.
Biographical / Historical:
Ernest Francisco Fenollosa (1853-1908) was a poet and student of Asian art. Born in Salem, Massachusetts, Fenollosa studied at Harvard, Cambridge University and the art school at the Boston Museum of Fine Arts before traveling to Japan to teach political economy and philosophy at the Imperial University at Tokyo. In 1988, he helped establish the Tokyo Fine Arts Academy and the Imperial Museum, serving as its director. For his many efforts to preserve temples and shrines and their art work, the Emperor of Japan decorated him with the orders of the Rising Sun and the Sacred Mirror. In 1890 Fenollosa returned to the Boston Museum of Fine Arts to take the position of curator of the department of Oriental arts. However, his public divorce and immediate remarriage in 1895 to the writer Mary McNeill Scott (1865-1954) led to his dismissal from the Museum in 1896 and he returned to Japan to teach English literature at the Tokyo Higher Normal School. He returned to the United States in 1900 to write and lecture on Asia. His works include East and West: The Discovery of America and Other Poems (1893); Epochs of Chinese and Japanese Art (2d ed. 1912), compiled by his widow, Mary McNeil Fenollosa; and two works on Japanese drama (ed. by Ezra Pound, 1916).
Local Numbers:
FSA A.01 04.02
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
New York (N.Y.). Dept. of Housing Preservation and Development Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Steven Englander, 2007 Sept. 7-Oct. 10. Archives of American Art, Smithsonian Institution.
An interview of Steven Englander conducted 2007 Sept. 7 and Oct. 10, by Liza Kirwin, for the Archives of American Art, in conjunction with Artists' Spaces Archives Project, at ABC No Rio, in New York, N.Y.
Englander, the director of ABC No Rio, speaks about his early interest in film; his involvement with Anarchist Switchboard, the Libertarian Book Club, and other anarchist groups; his introduction to ABC No Rio through Matthew Courtney's events there; "baby-sitting" ABC No Rio in 1990 for director Lou Acierno, who went to Hamburg with the exhibition "10 years, Seven Days"; ABC No Rio's managerial tasks; the composition of the board;
living at ABC No Rio; the character of the building; other tenants; previous directors Peter Cramer and Jack Waters; ongoing conflicts with the New York City Department of Housing, Preservation and Development (owner of the building); programs and projects; squatters and punks; challenges of educational outreach; conflicts with the board; the organizational structure of ABC No Rio as a "collective of collectives"; ABC No Rio's political activism; the process of purchasing the building; renovation plans; community support; and funding from the New York State Council on the Arts. Englander also recalls Bruce Weber, A Mica Bunker group, Hilly Kristal, Bobby G., Alan Moore, Colab, Paul Castrucci, and others.
Biographical / Historical:
Steven Englander (1961- ) is the director of ABC No Rio, New York, N.Y. Liza Kirwin is the curator of manuscripts at the Archives of American Art, in 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:
Transcript is available on the Archives of American Art's website.
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the interview was provided by Artists' Spaces Archives, New York, N.Y.
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
