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Oral history interview with Paul Burlin

Interviewee:: Burlin, Paul, 1886-1969 Search this

Interviewer:: Seckler, Dorothy Gees, 1910-1994 Search this

Names:: American Artists' Congress Search this; Downtown Gallery (New York, N.Y.) Search this; National Academy of Design (U.S.) -- Students Search this; United States. Works Progress Administration Search this; Whitney Museum of American Art Search this; Boas, Franz, 1858-1942 Search this; Gleizes, Albert, 1881-1953 Search this; Halpert, Edith Gregor, 1900-1970 Search this; Huneker, James, 1857-1921 Search this; Matisse, Henri, 1869-1954 Search this; O'Keeffe, Georgia, 1887-1986 Search this

Extent:: 5 Items (Sound recording: 5 sound files (2 hr., 39 min.), digital, wav); 65 Pages (Transcript)

Type:: Collection descriptions; Archival materials; Pages; Interviews; Sound recordings

Place:: Europe -- description and travel; Southwestern States -- Description and Travel

Date:: 1962

Scope and Contents:: Interview of Paul Burlin, conducted on December 5-6, 1962, by Dorothy Gees Seckler, for the Archives of American Art, Smithsonian Institution.; Burlin speaks of his childhood education in England; working for the magazine Delineator; his education at the National Academy of Design; his travels in the American Southwest; his early exhibitions in New York; his first wife's writings on folk music; visiting Europe before the first World War; discovering Cubism and Fauvism; working on the WPA under the Whitney Museum; joining and then leaving the American Artists' Congress in protest; his thoughts on overtly political art; exhibiting at the Downtown Gallery; his image-making process; and his critique of Pop art. Burlin also recalls James Huneker, Franz Boas, Albert Gleizes, Henri Matisse, Edith Halpert, Georgia O'Keeffe, and others.

Biographical / Historical:: Paul Burlin (1886-1969) was a painter in New York, New York.

General:: Originally recorded on 5 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 39 min.

Provenance:: This interview is part of the Archives' 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 others.

Topic:: Art, American Search this; Art -- Political aspects Search this; Cubism Search this; Fauvism Search this; Painters -- New York (State) -- Interviews Search this; Pop art Search this

Genre/Form:: Interviews; Sound recordings

Sponsor:: 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.

Identifier:: AAA.burlin62

Archival Repository:: Archives of American Art

GUID:: https://n2t.net/ark:/65665/mw9eb9c540b-b1e1-4898-9d25-193966292e9b

EDAN-URL:: ead_collection:sova-aaa-burlin62

Online Media:

Moses and Frances Asch Collection

Creator:: Asch, Moses Search this; Distler, Marian, 1919-1964 Search this; Folkways Records Search this

Names:: Courlander, Harold, 1908-1996 Search this; Guthrie, Woody, 1912-1967 Search this; Jenkins, Ella Search this; Leadbelly, 1885-1949 Search this; Ramsey, Frederic, 1915-1995 Search this; Seeger, Pete, 1919-2014 Search this

Extent:: 841 Cubic feet

Type:: Collection descriptions; Archival materials; Business records; Correspondence; Phonograph records; Photographic prints; Audiotapes

Date:: 1926-1986; bulk 1948-1986

Summary:: This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.

Scope and Contents:: The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.

Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.

The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.

Arrangement note:: The collection is arranged in 10 series:

Series 1: Correspondence, 1942-1987

Series 2: Folkways Production, 1946-1987

Series 3: Business Records, 1940-1987

Series 4: Woody Guthrie papers, 1927-1985

Series 5: Early Label Materials, 1940-1949

Series 6: Biographical Materials, 1926-1987

Series 7: Photographs

Series 8: Artwork

Series 9: Audio Recordings

Series 10: Film

At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.

Biographical/Historical note:: The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.

Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.

Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.

Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.

Shared Stewardship of Collections:: The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Provenance:: Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.

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.

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.

Topic:: Folk music Search this; Folk dance music Search this; Electronic music Search this; Oral interpretation of poetry Search this; Oral interpretation of fiction Search this; Music -- 20th century Search this; Music -- 19th century Search this; Music -- 18th century Search this; Jazz Search this; Folk music -- United States Search this; World music Search this; Sounds Search this; Vocal music Search this; Popular music -- 20th century -- United States Search this

Genre/Form:: Business records; Correspondence; Phonograph records; Photographic prints; Audiotapes

Citation:: Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:: CFCH.ASCH

See more items in:: Moses and Frances Asch Collection

Archival Repository:: Ralph Rinzler Folklife Archives and Collections

GUID:: https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4

EDAN-URL:: ead_collection:sova-cfch-asch

Online Media:

Smithsonian Folklife Festival records: 1970 Festival of American Folklife

Creator:: Smithsonian Institution. Center for Folklife and Cultural Heritage Search this

Names:: Smithsonian Folklife Festival Search this

Extent:: 1 Cubic foot (approximate)

Type:: Collection descriptions; Archival materials; Sound recordings; Contracts; Negatives; Plans (drawings); Photographic prints; Business records; Video recordings; Correspondence; Videotapes; Audiotapes; Memorandums; Notes; Audiocassettes; Digital images; Slides (photographs)

Date:: July 1-5, 1970

Summary:: The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:: This collection documents the planning, production, and execution of the 1970 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:: Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Arkansas

Series 3: Crafts

Series 4: Performances

Series 5: Southern Plains Indians

Historical note:: The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1970 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.

For more information, see Smithsonian Folklife Festival records.

Introduction:: The 1970 Festival took place for five days (July 1-5) on the National Mall, between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of History and Technology and the National Museum of Natural History (see site plan). It was the third Festival to feature one of the fifty States - in 1970, Arkansas was the focus - and the first to give a new prominence to Native American programming, with Indians of the Southern Plains featured. Craft presentations focused on those associated with milk and dairy products, while musical performances again offered a potpourri of diverse music and dance traditions. Each evening, a pow wow filled the center of the National Mall, complemented by evening concerts at the Sylvan Theater on the Washington Monument grounds.

The 1970 Festival was organized by the Division of Performing Arts, where James R. Morris was Director and Richard Lusher was Deputy Director. Ralph Rinzler continued as Festival Director.

The 1970 Program Book included information on all of the programs.

Shared Stewardship of Collections:: The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:: Smithsonian Folklife Festival records: 1970 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:: Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

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.

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.

Topic:: Folklore Search this; Folk music Search this; arts and crafts Search this; Folk festivals Search this; World music Search this; Folk art Search this; Food habits Search this

Genre/Form:: Sound recordings; Contracts; Negatives; Plans (drawings); Photographic prints; Business records; Video recordings; Correspondence; Videotapes; Audiotapes; Memorandums; Notes; Audiocassettes; Digital images; Slides (photographs)

Citation:: Smithsonian Folklife Festival records: 1970 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections , Smithsonian Institution.