The papers of painter, teacher and curator, Barbara Aubin, measure 8.6 linear feet and date from circa 1949-2006. Included is biographical information; personal and professional correspondence; writings; personal business records; photographs of Aubin, her works of art and family; scrapbooks; two VHS videos and printed material relating to Aubin. Also included is a miniature portrait of a man "Joshua" (presumably a relative of Aubin's) painted on ivory in a medallion, possibly dated 1867.
Biographical / Historical:
Barbara Aubin (1928-2014) was a painter, teacher, and curator in Chicago, Illinois.
Provenance:
Donated 2016 by the Barbara Aubin estate via Amie Hyman, executor and in 2023 by the Union League Club of Chicago via Mark Tunney, General Manager, and Jane Stevens, trustee.
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.
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.
The scattered papers of painter and printmaker Clara MacGowan measure 0.3 linear feet and date from 1929 to 1977. Found are scattered biographical materials, a mixed-media scrapbook, and photographs of MacGowan, Macgowan with others, and her works of art. Also included is an album of photographs of seventy-four paintings by MacGowan compiled in 1977 to facilitate the distribution of her estate.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Clara MacGowan (1895-1983) was a painter, printmaker, and educator in Chicago, Illinois. MacGowan was a professor of art at Northwestern University from 1927-1947, and a frequent lecturer at local women's clubs. Her work was exhibited regularly at the Arts Club of Chicago and the Chicago Society of Artists.
Provenance:
The Clara MacGowan papers were donated in 1996 by the Illinois Historical Art Project through Joel Dryer.
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.
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.
Letters, post cards, and original Christmas cards from artist Ralph Fabri to Pontius; and a several of Fabri's exhibition catalogs and announcements.
Biographical / Historical:
Educator; Chicago, Ill. Fabri was a painter, writer, sculptor, and educator and lived in New York City. He died in 1975.
Provenance:
The donor, Dale Pontius, is a friend of Ralph Fabri.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Edward Plunkett papers measure 4.2 linear feet and date from circa 1900-2006. Biographical material includes a hand-written biography, identification cards including a United States passport, and a series of autobiographical essays written by Plunkett in his later years at a retirement community in Madison, Wisconsin. The correspondence series is comprised heavily of mail art sent to Plunkett correspondents including Robert Delford Brown, Russell Butler (a.k.a. buZ blurr), Anna Banana, Buster Cleveland, Crackerjack Kid, Ken Friedman, John Held, Jr., E. F. Higgins III, Ray Johnson, Tim Mancusi, Carlo Pittore, May Wilson, William Wilson, and W. S. Stipe. The printed material series includes editioned mail art publications including Collective Farm, No. 3, Post-Office Dinner, 1982 (number 15/100), and unused source material for his mail and collage art. The photographic material series consists of some images of Plunkett, his earlier, more traditional artworks, and snapshots from his travels. The artwork series consists of traditional drawings, paintings, and collages on paper, in addition to a number of altered published books, miniature booklets, and collaged notebooks in various states of being finished. Many of the interleaved notebooks have not been glued to the paper.
Scope and Contents:
Edward Plunkett papers measure 4.2 linear feet and date from circa 1900-2006. Biographical material includes a hand-written biography, identification cards including a United States passport, and a series of autobiographical essays written by Plunkett in his later years at a retirement community in Madison, Wisconsin. The correspondence series is comprised heavily of mail art sent to Plunkett correspondents including Robert Delford Brown, Russell Butler (a.k.a. buZ blurr), Anna Banana, Buster Cleveland, Crackerjack Kid, Ken Friedman, John Held, Jr., E. F. Higgins III, Ray Johnson, Tim Mancusi, Carlo Pittore, May Wilson, William Wilson, and W. S. Stipe. The printed material series includes editioned mail art publications including Collective Farm, No. 3, Post-Office Dinner, 1982 (number 15/100), and unused source material for his mail and collage art. The photographic material series consists of some images of Plunkett, his earlier, more traditional artworks, and snapshots from his travels. The artwork series consists of traditional drawings, paintings, and collages on paper, in addition to a number of altered published books, miniature booklets, and collaged notebooks in various states of being finished. Many of the interleaved notebooks have not been glued to the paper.
Arrangement:
The collection is arranged in five series:
Series 1: Biographical Material, circa 1952-2004 (0.1 linear feet: Box 1)
Series 2: Correspondence, circa 1946-2002 (1 linear foot: Boxes 1-2)
Series 3: Printed Material, circa 1900-2006 (0.8 linear feet: Box 2)
Series 4: Photographic Material, circa 1950-1999 (0.2 linear feet: Boxes 2-3)
Series 5: Artwork, circa 1935-1999 (2.1 linear feet: Boxes 3-5, OV 6-9)
Biographical / Historical:
Edward M. Plunkett (1922-2011) was a mail artist, painter, and educator based in New York City. Plunkett was born in Highland Park, Michigan, attended the University of Chicago and the School of the Chicago Art Institute, and went on to teach at The Chicago Art Institute. Plunkett came to New York City in 1949 to pursue graduate studies at the Institute of Fine Arts, New York University and then the Sorbonne in Paris before settling permanently in New York. Plunkett's mature style as an exhibiting painter and illustrator often included social scenes and city life in a caricature-like style heavily influenced by Surrealism. In a 1977 article in Art Journal Plunkett describes his engagement with the emerging genre of mail art and how he coined the name "New York Correspondence School" in the early 1960s to describe the work he was making with contemporaries such as Ray Johnson. His paintings have been exhibited at The Whitney Museum in New York, in museums in Holland, Switzerland and The Museum of Modern Art in Paris. His work is found in numerous collections including The Metropolitan Museum of Art in New York, and his mail art is featured in many art and manuscript collections of mail artists.
Provenance:
The collection was donated in 2019 and 2020 by Wendy Fern Hutton, niece of Edward M. Plunkett.
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.
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:
Mail artists -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
1 Reel (ca. 220 items (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
1946-1979
Scope and Contents:
Biographical information; correspondence; a diary, 1975-1976, and teaching files kept while at American Farm School, Thessalonica, Greece; manuscripts of articles; photographs of art work and personal photographs; sketches and drawings; 3 scrapbooks containing printed material, photographs, memorabilia, and letters; and exhibition catalogs and announcements, clippings and printed miscellany.
Biographical / Historical:
Designer, weaver, educator; Chicago, Ill. Else Regensteiner is also known by the fuller form of her name: Else Friedsam Regensteiner.
Provenance:
Lent for microfilming 1979 by Else Regensteiner.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Scope and Contents:
The papers of Florence Arquin measure 8.2 linear feet and date from 1923 to 1985. The papers highlight her expertise in the field of Latin American studies and document Arquin's career as a painter, photographer, educator, writer, and critic through biographical material, correspondence, writings, teaching and project files, printed material, photographs, artwork, and scrapbooks. Additionally, the papers relate to her personal relationships with her husband Samuel Williams and friends, Diego Rivera and Frida Kahlo. Teaching and project files include material from Arquin's work with the Federal Art Project at the Art Institute of Chicago and as director of the U.S. State Department's Kodachrome Slide Project, which was part of an effort to provide educational agencies with visual aids to support Latin American Studies.
Biographical materials include awards, biographical sketches and resumes, travel papers, identification cards, and ten address books.
The bulk of correspondence is comprised of letters written by Florence Arquin to her husband, Samuel Williams. These letters discuss her trips to Mexico in the 1940s, her role in the Kodachrome Slide Project, and her friendships with fellow artists Diego Rivera and Frida Kahlo, and others. Also found are copies of letters from Frida Kahlo and Diego Rivera to Florence Arquin.
Writings and notes include extensive research notes, notebooks, and notecards by Florence Arquin, primarly on Latin American art and culture. Also found is a draft of Arquin's work on Diego Rivera, Diego Rivera (1886-1957): The Shaping of an Artist (Early Period--1889-1921). Writings by others include a draft of a foreword by Diego Rivera, and writings by Jose de Souza Pedreira, and Hilla Rebay.
Teaching and project files include materials from Arquin's time teaching at the Art Institute of Chicago, her work with the the Federal Art Project at the Art Institute of Chicago and the Kodachrome Slide Project. Teaching files are scattered and include student papers, class outlines, and a lecture. The Federal Art Project at the Art Institute of Chicago files include a proposal and project reports. The Kodachrome Slide Project files include correspondence, receipts, reports, educational guides and materials, slide sequences, and printed material.
Printed material includes exhibition catalogs and announcements, clippings, booklets, travel guides, magazines, education journals, subject files on Diego Rivera and Frank Lloyd Wright, and blank postcards from Arquin's travels. There are extensive booklets and pamphlets published by the Pan American Union, and travel guides and educational guides for Latin America. Some printed material is in Spanish.
Photographs include portraits and snapshots of Florence Arquin, Diego Rivera, Frida Kahlo and others. Photos of Florence Arquin show her in her office, giving lectures, and at events with others. Photographs of works of art are by Frida Kahlo and Diego Rivera.
Artwork is scattered and includes a sketchbook by Florence Arquin with watercolor and pencil sketches and a print signed by de Diego.
There are four scrapbooks created by Florence Arquin. Scrapbooks may include photographs, writings, maps, and printed materials. Materials relate to the Federal Art Project at the Art Institute of Chicago, travel, and the Kodachrome Slide Project.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, 1939-1962 (0.4 linear feet; Box 1, 11)
Series 2: Correspondence, 1940-1985 (0.8 linear feet; Box 1-2)
Series 3: Writings and Notes, 1929-circa 1964 (2.0 linear feet; Box 2-4)
Series 4: Teaching and Project Files, 1930-1963 (1.4 linear feet; Box 4-5)
Series 5: Printed Material, 1923-1964 (1.8 linear feet; Box 5-7, 11)
Series 6: Photographs, 1929-circa 1960 (0.7 linear feet; Box 7, 11)
Series 7: Artwork, circa 1940-circa 1950 (2 folders; Box 7, 11)
Series 8: Scrapbooks, 1935-1956 (0.9 linear feet; Box 8-10)
Biographical / Historical:
Painter, photographer, educator, writer, and critic, Florence Arquin (1900-1974) was active in Chicago, Illinois. She was widely known for her expertise in the field of Latin American studies and had a close relationship with Frida Kahlo and Diego Rivera. From 1935 to 1939 she worked as administrator for the Federal Art Project in Illinois and joined the Art Institute of Chicago in 1939 to develop education programs aimed at secondary school students.
Florence Arquin was born in 1900 in New York City. She graduated from the Art Institute of Chicago where she studied art education. After, she undertook post graduate studies at the National University of Mexico. In the early 1940s Arquin traveled to Mexico to paint, where she developed friendships with Diego Rivera and Frida Kahlo. In 1943 a solo exhibition of her paintings at the Benjamin Franklin Library in Mexico City was highly praised by Rivera in the catalog introduction. Arquin's book Diego Rivera: The Shaping of an Artist, 1889-1921 about the artist's formative years, was published by the University of Oklahoma Press in 1971.
Arquin traveled extensively in South America, the United States, and Europe throughout her life. From 1945 to 1951 she traveled to Brazil, Bolivia, Peru, and Ecuador as Director of the Kodachrome Slide Project under the sponsorship of the Department of State. Arquin photographed aspects of life and culture and gave lectures at bi-national cultural institutions throughout those countries and in the United States. The project was part of an effort to provide educational agencies with visual aids in the field of Latin American studies.
Under another State Department grant, duplicates of Arquin's photographs were then made available for sale to institutions and individuals interested in the field of Latin American studies. The Metropolitan Museum of Art assumed responsibility for publicity, sale, and distribution of the slides from 1950 to 1955. Although few sales originated through the sales office of the Museum, Arquin managed to generate sales through her own efforts. In 1961 she applied for another grant to take control of the original slides and to add slides that she had taken on other visits to Latin America, Morocco, Spain, Portugal, and other European countries since then.
Florence Arquin died in 1974.
Provenance:
The collection was donated to the Archives of American Art by Samuel Williams, Arquin's husband, in 1991.
Restrictions:
The Florence Arquin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
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.
An interview of Chicana painter and educator Judithe Hernandez conducted in Chicago, Ill., 1998 Mar. 28, by Jeffrey Rangel.
Hernandez discusses her family background and encouragement to become professional; training at Otis Art Institute and admiration there for African-American teacher Charles White; the intellectual influence of Carlos Almaraz's father on her as well as him, artists in L.A. such as Magu and Patssi Valdez; working with Judy Baca on the Great Wall of Los Angeles project; description and characterization of members of Los Four and sexism in the work of some Chicano male artists; her disillusionment over the reception of Chicano art and her own work in particular, the fact that she was not included in the big Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors exhibition and catalogue; becoming an educator; and the debate with Shifra Goldman.
Biographical / Historical:
Judithe Hernandez (1948- ) is a painter and educator from Los Angeles, Calif. and Chicago, Ill. Hernández was a leading Latina artist in Los Angeles during the 1970s, an important decade in the development of the Chicano mural movement and Latino art in general. Hernández now teaches in Chicago, but during her time in Southern California she came to represent both Chicana and feminist viewpoints, and was an articulate spokesperson for those interests and the rights of individual artists to transcend political identity in their careers.
Provenance:
Donated 2001 by Jeffrey Rangel. From 1996-2000, Jeffrey Rangel was contracted by the AAA to conduct oral histories of Latino and Latina artists who worked in Los Angeles and were part Chicano art groups such as Los Four and Asco. This interview was conducted by Rangel independently for his own research. The interview was transcribed with funding from the Smithsonian Latino Initiative funds.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The papers of educators and painters Kathleen Blackshear and Ethel Spears measure 9.2 linear feet and date from 1920 to 1991. The papers focus primarily on Blackshear's career but also document the career of Blackshear's partner Ethel Spears, and the involvement of both women in the Chicago, Illinois art scene. Papers include biographical material, correspondence, handmade holiday and greeting cards, artist files, research and subject files, and printed material.
Scope and Contents:
The papers of educators and painters Kathleen Blackshear and Ethel Spears measure 9.2 linear feet and date from 1920 to 1991. The papers focus primarily on Blackshear's career but also document the career of Blackshear's partner Ethel Spears, and the involvement of both women in the Chicago, Illinois art scene. Papers include biographical material, correspondence, handmade holiday and greeting cards, artist files, research and subject files, and printed material.
Biographical materials include address books, sketches, teaching records, personal business records of both Blackshear and Spears, and photographs of the two women. Correspondence is scattered but comments on Spears's participation with the Works Progress Administration. Handmade holiday cards are from friends, colleagues, students, and fellow artists, and were sent to Blackshear and Spears throughout their decades-long partnership. The bulk of the papers consist of files kept by Blackshear on artists and various art-related subjects.
Arrangement:
The collection is arranged as 7 series.
Series 1: Biographical Material, 1920-1967 (0.4 linear feet; Box 1)
Series 2: Correspondence, 1925-1986 (0.2 linear feet; Box 1)
Series 3: Handmade Holiday Cards, circa 1920-circa 1960 (2.8 linear feet; Boxes 1-4
Series 4: Writings and Notes, 1920-1950s (0.7 linear feet; Boxes 4-5)
Series 5: Artist Files, 1922-1981 (0.9 linear feet; Box 5)
Series 6: Research and Subject Files, circa 1920s-circa 1960s (Boxes 6-9; 4.0 linear feet)
Series 7: Printed Material, 1925-1991 (0.2 linear feet; Box 10)
Biographical / Historical:
Kathleen Blackshear (1897-1998) was a painter, writer, and educator. Ethel Spears (1903-1974) was a painter and educator. Blackshear and Spears were longtime partners and both were active in Chicago, Illinois.
Kathleen Blackshear was born in Navasota, Texas in 1897. She attended Baylor University and the Art Students League before settling at the School of the Art Institute of Chicago where she took graduate classes and served as a teaching assistant under Helen Gardner. She succeeded Gardner as teacher and subsequently held that position for thirty-five years, expanding Gardner's legacy of introducing students to the history of art by placing a special emphasis on artistic traditions outside of Western Europe. The importance and influence of Blackshear's teaching focus is reflected in several subsequent generations of students, including Whitney Halstead and the Chicago Imagists group. Blackshear also lectured at other institutions.
In addition to teaching, Blackshear contributed analytical drawings for Helen Gardner's publications, painted two cycloramas for the Century of Progress Exposition in Chicago in 1933-1934, and exhibited her prints and paintings. As a painter, Blackshear was known for her depictions of African Americans.
Ethel Spears was born in Chicago, Illinois in 1903. She attended the School of the Art Institute of Chicago and studied under Alexander Archipenko at the Art Students League in New York City before returning to the School of the Art Institute to teach. Spears was known for her paintings of urban scenes.
It is likely that Blackshear and Spears met while teaching at the School of the Art Institute of Chicago. They lived together in Chicago and moved to Navasota, Texas upon retiring. They remained together until Spears's death in 1974. Blackshear died in 1988.
Provenance:
The Kathleen Blackshear and Ethel Spears papers were donated in 1990 by William Terrell, Blackshear's nephew and executor.
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.
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.
Kathleen Blackshear and Ethel Spears papers, 1920-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
Biographical writings and U.S. Army papers, 1940-1961; letters, 1945-1946, from Shopen to his wife, Sylvia; business correspondence, 1932-1984; art works, including a print, a watercolor, 54 sketches and 2 sketchbooks by Shopen, a print by Arthur B. Davies, and 2 prints by Otto Schneider; a scrapbook kept while art critic for the CHICAGO DAILY NEWS, 1953-1956, containing letters and clippings of reviews; receipts; an address book; writings and notes on art and a notebook of quotes; subject files on the War Department and Shopen's teaching position at the University of Illinois; printed material, 1946-1957; and photographs, slides and negatives of Shopen, friends, family, and works of art.
Biographical / Historical:
Painter, art critic, educator; Chicago, Ill. full name is George Kenneth Shopen
Provenance:
Donated 1988 by Timothy Shopen, Kenneth Shopen's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
An interview with Candida Alvarez conducted 2023 July 12-26, by Mary Thomas for the Archives of American Art, at Skowhegan School of Painting and Sculpture in New York, New York.
Biographical / Historical:
Candida Alvarez (1955- ) is a painter known for her inventive use of materials on the canvas and her broad exploration of painting's ability to record experience through figuration and abstraction. Born in Brooklyn, Alavrez is now a tenured professor at the School of the Art Institute Chicago.
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.
An interview with Dennis Adrian conducted 2015 October 8-9, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Adrian's home in Seaside, Oregon.
Adrian speaks of growing up in Astoria; traveling to Chicago and New York; Cannon Beach; aging and getting older; his origins; curators and curating; visual sensibilities; the Portland Public Library; opera; his parents, grandparents, and family; Finnish sensibility and humor; Portland Art Museum and classes for children; curator as voyeur; credit and accomplishments; hands on experiences; Artforum; art history; attending University of Chicago; homosexuality and coming out; looted European masterworks; Botticelli; exposure to real art; connoisseurship; collectors and collecting; a Robert Louis Stevenson letter; violin making; growing into yourself; Chicago; war; New York University; Frumkin Gallery; New York; the art world; Madison Art Center; Akron Art Museum; friendship and role models; Art Institute of Chicago; meeting Mies van der Rohe; meeting idols; education; Oscar Wilde and Dorothy Parker; Museum of Contemporary Art, Chicago; Monster Roster; traveling; Chicago art politics; writing and critics; Eurocentric curators; Chicago as an undervalued city; Dog Day Afternoon; discovering art; New York sightings; and experiences running into artists. Adrian also recalls Roger Brown, Ruth Horwich, Gilda Buchbinder, Don Baum, Sherman Lee, Victor Carlson, Peter Voulkos, Lawrence Alloway, Rhona Hoffman, Allan Frumkin, June Leaf, Leon Golub, Jeremy Anderson, Robert Barnes, Tom Garver, Bruce Conner, Natasha Nicholson, H. C. Westermann, Franz Schulze, Bertha Harris Wiles, Muriel Newman, Aaron James Spire, Lillian Florsheim, John Maxon, Greg Knight, P.B. Maryan, Philip Pearlstein, Sylvia Sleigh, Nancy Spero, Irving Petlin, John Coplans, Alan Artner, Alice Shaddle, Phyllis Kind, Andy Warhol, Joseph Cornell, Tilda Swinton, Leo Castelli, Philip Guston, Dubuffet, Pussy Pepke, Bumpy Rogers, Barbara Rossi, Christina Ramberg, Philip Hanson, Miyoko Ito, Mark Jackson, Rolf Achilles, and Vito Acconci.
Biographical / Historical:
Dennis Adrian (1937- ) is an art critic, educator, and curator in Chicago, Illinois. Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.
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.
Occupation:
Art critics -- Illinois -- Chicago -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Dennis Adrian, 2015 October 8-9. Archives of American Art, Smithsonian Institution.
An interview of Gladys Nilsson conducted 2008 Aug. 9, by Kathy Goncharov, for the Archives of American Art, at Congress Hotel, in Chicago, Ill.
Biographical / Historical:
Gladys Nilsson (1940- ) is a painter and founding member of Chicago Hairy Who, who lives and works in Chicago, Ill. Nilsson teaches at the Art Institute of Chicago and is best known for her vibrant watercolors.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 2 digital wav files. Duration is 2 hrs., 3 min.
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.
An interview with Suellen Rocca conducted 2015 November 5-6, by Lanny Silverman, for the Archives of American Art's Chicago Art and Artists: Oral History Project, at Elmhurst College in Elmhurst, Illinois.
Biographical / Historical:
Suellen Rocca (1943-2020) was an artist, curator, and educator in Romeoville, Illinois. Interviewee Lanny Silverman (1947- ) is a curator at the Chicago Cultural Center in Chicago, Illinois.
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.
Occupation:
Art museum curators -- Illinois -- Chicago Search this
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.
Scope and Contents:
The papers of Chicago artist and educator Ray Yoshida measure 10 linear feet and date from circa 1895 to 2010, with the bulk of the material dating from 1950 to 2005. Yoshida's career as a painter and collagist as well as his long tenure as a professor at the School of the Art Institute of Chicago are documented through biographical material, personal correspondence, notebooks and writings, teaching records, personal business records, printed material, source material, photographs, sketchbooks, artwork by Yoshida and others, and scrapbooks. Items within the collection also document Yoshida's personal interest in collecting folk art and artifacts.
Biographical material about Ray Yoshida includes award certificates, identification records, student records, and interview transcripts. Also found is one video recording of a documentary short about Yoshida's art and object collection at his Chicago home.
Correspondence includes letters, postcards, and greeting cards from friends, colleagues, and artists, including Roger Brown, Jim Nutt, Gladys Nilsson, Christina Ramberg, Karl Wirsum, Miyoko Ito, Jin Soo Kim, Barbara Rossi, Vera Berdich, and Tom Kapsalis.
Notebooks contain notes on art history, art technique, Japanese language, travel, and other subjects. Many of the notebooks include sketches and contain loose items.
Writings by Yoshida consist of college papers, fragments of writings on art and other subjects, and notes. Writings by others include essays by Yoshida's students, exhibition essay drafts, and poetry.
Teaching records primarily document Yoshida's tenure as a professor at the School of the Art Institute of Chicago, though a few records of guest professorships at other schools are included. These records include course evaluations, employment records, teaching notes, and letters of recommendation for students. Miscellaneous teaching records include department memos, course summaries, correspondence, and notes.
Personal business records consists of documentation regarding the sale, exhibition, and loan of artwork by Ray Yoshida, including his business dealings with the Phyllis Kind Gallery. Additionally there are several files regarding the estate of artist Roger Brown.
Printed material includes exhibition catalogs, announcements, news clippings, newsletters and press releases documenting Yoshida's career and other subjects.
Source material consists of material that Yoshida gathered and intended to use for his art. Collected printed material includes postcards, comics and comic books, mail order catalogs, magazines, product labels, and advertisements. Also found are many small clippings from comics collected for collages.
Photographs depict Ray Yoshida, friends, students, travel, and artwork. Also found are a few photographs of Karl Wirsum's studio, as well as photographs of various subjects collected by Yoshida. Additionally, there is one photograph album from the early 1910s of an unidentified family.
Sketchbooks include pencil and ink sketches of various subjects.
Artwork by Ray Yoshida includes collages on paper, pencil sketches, and ink drawings. Artworks by others include numerous prints by Kathleen Blackshear, Ethel Spears, and Vivian Mayers, and collages, drawings, and prints given to Yoshida by students and friends. Some work by unidentified artists is included as well. Other artwork, such as handmade picture and alphabet books, appears to have been created by children and collected by Yoshida.
Scrapbooks include volumes that were created by Yoshida as well as books created by others. Three of the scrapbooks containing source images, clippings, and comics appear to have been created by Yoshida. Additional scrapbooks were created by others and collected by Yoshida.
Arrangement:
The collection is arranged as 12 series.
Missing Title
Series 1: Biographical Material, 1950-2005 (0.5 Linear feet; Box 1)
Series 2: Correspondence, 1952-2009 (2 Linear feet; Boxes 1-3, 11, 15)
Series 3: Notebooks, circa 1956-circa 2000 (0.3 Linear feet; Box 3)
Series 4: Writings, circa 1950-2003 (0.3 Linear feet; Box 3)
Series 5: Teaching Records, circa 1960-2003 (0.6 Linear feet; Boxes 3-4)
Series 6: Personal Business Records, circa 1960-2010 (0.4 Linear feet; Box 4)
Series 7: Printed Material, 1906-2010 (1.8 Linear feet; Boxes 4-6, 11, OV 14)
Series 8: Source Material, circa 1940-circa 2005 (0.7 Linear Feet; Boxes 6-7, 11)
Series 9: Photographs, circa 1910-circa 2005 (0.5 Linear feet; Box 7)
Series 10: Sketchbooks, circa 1960-circa 2000 (1.1 Linear feet; Boxes 7-8, 11-13)
Series 11: Artwork, 1903-2009 (0.7 Linear feet; Boxes 8, 13)
Series 12: Scrapbooks, circa 1895-circa 2005 (1 Linear feet; Boxes 8-10, 13)
Biographical / Historical:
Ray Yoshida (1930-2009) was a Japanese American painter, collagist, and educator based in Chicago, Illinois.
Raymond Kakuo Yoshida was born in Kapaa, Hawaii, in 1930. He attended the University of Hawaii for two years and completed a B.A. in Arts Education at the Art Institute of Chicago in 1953. He also served in the U.S. Army for two years during the Korean War. In 1957 he recieved his M.F.A from Syracuse University and became a faculty member at the School of the Art Institute of Chicago in 1959. He was named Frank Harold Sellers Professor in the Department of Painting and Drawing in 1971, retired as professor emeritus in 1998, and continued to teach until 2003.
Yoshida was a member of the Chicago Imagists, a loose and informal group of representational artists from the late 1960s to early 1970s who were influenced by Surrealism and connected to the School of the Art Institute of Chicago. Yoshida's friends and contemporaries among this group include but are not limited to Roger Brown, Ed Paschke, Christina Ramberg, and Barbara Rossi. Yoshida was an inspiring teacher and he mentored many of the later Chicago Imagists such as Gladys Nilsson, Jim Nutt, and Karl Wirsum.
Yoshida's paintings and collages were strongly influenced by comics as well as his own collection of folk and outsider art. He regularly exhibited at Phyllis Kind Gallery in Chicago from 1975 to 1996, and a major retrospective of his work was organized by the Contemporary Museum of Honolulu in 1998. He retired to Hawaii in 2005 where he lived until his death in 2009 due to cancer. The School of the Art Institute of Chicago's Sullivan Galleries held a posthumous retrospective exhibition of Yoshida's work from 2010-2011 and the John Michael Kohler Art Center had an exhibition of Yoshida's personal collection of art and artifacts in 2013.
Provenance:
The collection was donated in 2012 by Ray Yoshida via Terri Yoho of the Kohler Foundation, representing Yoshida's estate, and in 2013 and 2015-2016 by Jennifer Sabas and Shayle Miller, estate executors.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.
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.
Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.
The papers of painter and educator Ruth Van Sickle Ford (1897-1989) measure 1.7 linear feet and date from circa 1920 to 1986. Found are biographical materials, correspondence, writings, printed materials, three scrapbooks, and photographs.
Scope and Contents:
The papers of painter and educator Ruth Van Sickle Ford (1897-1989) measure 1.7 linear feet and date from circa 1920 to 1986. Found are biographical materials, correspondence, writings, printed materials, three scrapbooks, and photographs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Ruth Van Sickle Ford (1897-1986) was a painter and educator active in Chicago, Illinois. She was president and owner of the Chicago Academy of Fine Arts from 1936 to 1960.
Ford was born in Aurora, Illinois. She enrolled at the Chicago Academy of Fine Arts, where she studied under Carl Newland Werntz, and graduated in 1918. Over the course of her career her works were exhibited throughout the United States. In addition to her painting, Ford returned to the Chicago Academy of Fine Arts to teach watercolor and oil painting, and ultimately purchased the school and served as both president and director.
In 1918, Ruth married Arthur Ford and together they had a daughter, Barbara. Ruth Van Sickle Ford died in 1989 in Aurora, Illinois.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (Reel 3956, frames 187-316) including 55 handmade Christmas cards, news clippings,a booklet, photographs, and one sketch by Claude Buck. Originals are in the possession of Barbara Turner. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Barbara Turner donated her mother's papers to the Archives of American Art in 1987.
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.
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 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.
Ruth Van Sickle Ford papers, circa 1920-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
Biographical material, letters and copies of electronic mail, writings, artwork, photographs, audio visual material, printed material and miscellaneous material relating to Tony Hepburn's career as a sculptor and educator.
Biographical material includes school yearbooks and certificates. Letters and e-mails are from business associates, university colleagues, and friends. Writings include various notebooks, many of which include notes and sketches, typed transcripts of lectures and typed essays by Hepburn and daily notes. Photographs are of Hepburn and his artwork. Printed material includes journals and newspaper clippings of reviews, exhibition catalogs, and publications by the Cranbrook Academy of Art. Audio visual material includes three VHS tapes, one of a workshop in Tulane, La., 1989; another of a Symposium in San Jose, Calif., 1985, in which Hepburn participated; and one tape labeled "Tony Marsh Wall Project," undated. Miscellaneous material includes travel records, an address book, and pricing lists.
Biographical / Historical:
Sculptor, art teacher; Bloomfield Hills, Mich.; b. 1942
Provenance:
Donated in 2008 by Tony Hepburn.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The papers of Vera Berdich measure 3 linear feet and date from circa 1912-1990, with the bulk from 1947-1989. The papers document Berdich's career through
biographical material; correspondence with friends, family, artists, universities, and galleries; writings which include sabattical notes and statements on printmaking; exhibition and professional files; financial records; printed materials, artwork; photographs and slides.
Series 1: Biographical Material, 1942-1983 (0.1 Linear feet: Box 1)
Series 2: Correspondence, 1947-1989 (1.4 Linear feet: Box 1-2)
Series 3: Writings, 1960-1985 (0.1 Linear feet: Box 2)
Series 4: Exhibition Files, 1963-1982 (0.1 Linear feet: Box 2)
Series 5: Professional Files, 1946-1989 (0.2 Linear feet: Box 2)
Series 6: Personal Business, circa 1950-1990 (0.1 Linear feet: Box 2)
Series 7: Printed Material, 1943-1989 (0.7 Linear feet: Box 2-3)
Series 8: Artwork, 1957-1965 (0.1 Linear feet: Box 3)
Series 9: Photographic Material, circa 1912-1989 (0.4 Linear feet: Box 3)
Biographical / Historical:
Vera Berdich (1915–2003) was a printmaker and educator from Chicago, Illinois. Growing up, Berdich and her family moved frequently, often settling down in areas with a close proximity to nature which would go on to inspire Berdich's work. Following grammar school Berdich went on to study at the School of the Art Institute (SAIC) graduating with a BA in 1946. A year later Berdich was hired by SAIC, where she founded the printmaking department and continued teaching until she retired in 1979. As a professor, Berdich formed important relationships with fellow professors Kathleen Blackshear and Whitney Halstead.
Over the course of her career Berdich exhibited at galleries and museums throughout the United States and in Europe, such as the Museum of Modern Art and the Art Institute of Chicago. In 1979 SAIC held a retrospective exhibition of her work. Her prints can be found in the collections of a number of institutions including the Library of Congress, the Fine Arts Museum of San Francisco and the Art Institute of Chicago.
Provenance:
Donated 1992 by Vera Berdich.
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 or audiovisual recordings in this collection must use access copies. Contact Reference 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.
Vera Berdich Papers, circa 1912-1990, bulk 1947-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of painter and educator Vera Klement measure 3.3 linear feet and 1.36 GB and date from 1950 to circa 2016. The papers include scattered correspondence with Franz Schulze and others, writings and notes including digital copies of a memoir, an interview, and a film, personal business records, printed and digital material, fourteen sketchbooks and other works of art, and photographs, including a photo of the MacDowell Colony in 1957.
Scope and Contents:
The papers of painter and educator Vera Klement measure 3.3 linear feet and 1.36 GB and date from 1950 to circa 2016. The papers include scattered correspondence with Franz Schulze and others, writings and notes including digital copies of a memoir, an interview, and a film, personal business records, printed and digital material, fourteen sketchbooks and other works of art, and photographs, including a photo of the MacDowell Colony in 1957.
Of note is Blunt Edge, an unpublished memoir by Klement in born-digital format; a born-digital recording of an oral history by Linda Kramer and Sandra Binion (2010); a born-digital copy of a film entitled Vera Klement: Blunt Edge, by Wonjung Bae; a bound volume, Disorder and Early Sorrow: a Meditation on War and Death in Homage to Picasso's Guernica 1937, by Vera Klement; and a poetry project compiled by Klement entitled Born of Silence.
Arrangement:
Due to its small size the collection is arranged as one series.
Biographical / Historical:
Vera Klement (1929-) is a painter and educator in Chicago, Illinois. She is a founding member of "The FIVE."
Vera Klement was born in Danzig, Germany (now Gdańsk, Poland). She came to the United States in 1938 to escape the Nazi regime and settled in New York City. Klement studied at the Cooper Union School of Art and Architecture, graduating in 1950. After moving to Chicago in 1965, she taught at the University of Chicago from 1969 to 1995 and is a Professor Emerita. She became a founding member of "The FIVE," a group of artists, who protested what they saw as a regionalist bent in Chicago art during the early 1970s.
Klement continues to live and work in Chicago, Illinois.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Vera Klement conducted for the Archives of American Art's Chicago Art and Artists: Oral History Project. The interviews were conducted by Lanny Silverman, 2015 June 12 and 14, and by Jason Stieber, 2016 May 25.
Provenance:
Vera Klement donated her papers to the Archives of American Art in several installments in 1986, 2004, and 2017.
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 or audiovisual recordings in this collection must use access copies. Contact Reference 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.
Vera Klement papers, 1950-circa 2016. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
The papers of painter and educator William Conger measure 7.3 linear feet and 3.51 gigabytes, and date from the 1940s to 2018. The collection documents Conger's career as a painter and details his business dealings and involvement with Chicago's art community through biographical material, personal and professional correspondence, writings including artmaking journals and notes, and personal business records documenting commissions and sales. Also found are exhibition and gallery records including video recordings, printed material on Conger's career and Chicago art history, photographic material picturing Conger and his artwork, and artwork including a sketchbook and preparatory sketches for paintings.
Scope and Contents:
The papers of painter and educator William Conger measure 7.3 linear feet and 3.51 gigabytes, and date from the 1940s to 2018. The collection documents Conger's career as a painter and details his business dealings and involvement with Chicago's art community through biographical material, personal and professional correspondence, writings including artmaking journals and notes, and personal business records documenting commissions and sales. Also found are exhibition and gallery records including video recordings, printed material on Conger's career and Chicago art history, photographic material picturing Conger and his artwork, and artwork including a sketchbook and preparatory sketches for paintings.
Exhibition and gallery records include sales and consignment records organized by gallery, as well as exhibition files for select group and solo exhibitions at galleries and museums, as well as a sound recording regarding a 1967 group exhibition, and miscellaneous exhibition documents. Some of the exhibition files include digital video recordings, digital images, and documents. Printed materials include press and exhibition announcements as well as exhibition catalogs, printed material on the subject of Chicago art history, and a CD-ROM showcase of contemporary art featuring Congers' paintings. The photographic material series includes photographs of artwork, installations, and the artist in black and white and color prints, Polaroids, snapshots, slides, transparencies, negatives, and inkjet prints. The artwork series includes a sketchbook and signed mixed media works on paper, as well as loose drawings and preparatory sketches for paintings.
Arrangement:
The collection is arranged into eight series.
Series 1: Biographical Material, circa 1948-1999 (0.2 linear feet: Box 1)
Series 2: Correspondence, circa 1940s-2018 (2.5 linear feet: Boxes 1-3)
Series 3: Writings, circa 1970s-2014 (0.9 linear feet: Boxes 3-4)
Series 4: Personal Business Records, circa 1960s-2016 (0.8 linear feet: Boxes 4-5)
Series 5: Exhibition and Gallery Records, circa 1967-2017 (0.5 linear feet: Box 5; 2.54 gigabytes: ER01-ER03)
Series 6: Printed Material, circa 1950s-2017 (0.9 linear feet: Boxes 5-6; 0.97 gigabytes: ER04)
Series 7: Photographic Material, circa 1947-2012 (0.9 linear feet: Boxes 6-8)
Series 8: Artwork, circa 1940s-2010 (0.7 linear feet: Boxes 7-8)
Biographical / Historical:
William Conger, born 1937 in Dixon, Illinois, is an abstract painter and art educator living in Chicago.
From a young age Conger's interest in art making and a fascination with the masters was encouraged by his mother, an amateur painter who brought him on regular visits to exhibitions at the Art Institute of Chicago from their home in Evanston, Illinois. Conger received his Bachelor of Fine Arts from the University of New Mexico where he studied with renowned abstract painters Elaine de Kooning and Raymond Johnson, and later received his Master of Fine Arts from the University of Chicago. Conger taught painting throughout the 1970s at DePaul University, then became Professor of Art Theory and Practice at Northwestern University from 1985 until he retired as Professor Emeritus in 2006. At Northwestern he taught alongside friend and colleague Ed Paschke. Conger has published writings on art on topics such as psychoanalysis and the masters, the Chicago art scene, and abstract art of the region.
Conger's mature style is an abstract style of painting largely informed by color and form, reminiscent of Wassily Kandinsky, often titled with musical and metaphorical references. He began exhibiting as early as his undergraduate years in the New Mexico Biennial and was included by professor Elaine de Kooning in a 1960 group exhibition at the Great Jones Gallery in New York City. In addition to showing at commercial art galleries Conger has completed a number of public artworks primarily in the Chicago area, including murals and painted sculptures. His work can be found in the collections of the Art Institute of Chicago, The Museum of Contemporary Art, Chicago, and the Wichita Art Museum, as well as numerous university museums and corporate collections internationally.
Related Materials:
Also found in the Archives of American Art is an oral history interview with William Conger in 2015, May 18-20.
William Conger papers relating to his years as a faculty member at Northwestern University are located at Northwestern University Archives.
Provenance:
The William Conger papers were donated in 2007, 2015 and 2019 by William Conger.
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 or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
Journals and Restricted Correspondence: Authorization to quote or reproduce for purposes of publication requires written permission from William Conger. Contact Reference Services for more information.
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.
