Skip to main content Smithsonian Institution

Search Results

Collections Search Center
403 documents - page 1 of 21

Proffitt, Frank - Memorial Concert

Collection Creator:
Rinzler, Ralph  Search this
Container:
Box 5 (Series 3)
Type:
Archival materials
Date:
1965-1966
Scope and Contents note:
File consists of correspondence, flier, contract with Hunter College, handwritten notes on reverse of Roanoke Bluegrass Festival schedule. Correspondents include: Ralph Rinzler, Harvey Blau, Pearl Stone, Frank Warner, Harold [last name not included], May Gadd. File includes correspondence referencing Doc Watson. Materials relate to Frank Proffitt Memorial Concert at Hunter College, produced by the Newport Folk Foundation.
Collection Restrictions:
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at rinzlerarchives@si.edu or (202) 633-7322.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.RINZ, File RINZ_03_005_001
See more items in:
Ralph Rinzler papers and audio recordings
Ralph Rinzler papers and audio recordings / Series 3: Correspondence
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-rinz-ref1658

Black Aesthetics: Historical and Contemporary Issues, audio tape, OT 408.24.3

Collection Collector:
Maltsby, Portia  Search this
Collection Creator:
Smithsonian Institution. Program in African American Culture  Search this
Container:
Box 133, Cassette 10
Type:
Archival materials
Audio
Date:
undated
Scope and Contents:
Continuation of Pearl Williams-Jones.

Barbara Hampton is an ethnomusicologist at Hunter College in New York, specializing in African and African-American music. She discusses institutional resistance to the history of black arts.

John Gwaltney is a professor of anthropology at the University of Syracuse. He is a cultural anthropologist in Black studies, specializing in oral history. He discusses the ethnological background of aesthetic tradition. FATH RUFFINS, is a historian in the Department of Social and Culture History at the National Museum of American History. She discusses the changes of aesthetics over time and how it relates to African-American culture.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
See more items in:
Program in African American Culture Collection
Program in African American Culture Collection / Series 1: Program Files
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0408-ref228

New York City at the Smithsonian

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
At first, it might seem like an oxymoron to talk about the "folklore" or "folklife" of one of the world's most modern cities, but daily life in New York would be impossible without this body of shared urban traditions, of collective community knowledge, customs, historical memories, and cultural understandings that constitutes the folklife of the city. lt provides the basic ground rules that shape how New Yorkers interact with their families, their colleagues, and their fellow New Yorkers. From subway etiquette to local street food to stickball games, these traditions give New York City its unique sense of place.

ln addition to a shared urban culture, most New Yorkers also have one or more reservoirs of specialized traditional knowledge, which they have acquired from their ethnic and/or religious upbringing, working in a particular occupation, or living in a specific area of the city. The innumerable, multifaceted ways in which these factors interact are what make New York and New Yorkers so fascinating. Of course, it was impossible to cover all aspects of New York's culture in a single event, but by approaching city culture thematically, and by carefully selecting examples that highlight different aspects of work, life, and leisure in New York, New York City at the Smithsonian sought to acquaint Festival visitors with both the ordinary and extraordinary aspects of life in Gotham.

What gives New York a sense of being different is not merely tbe myriad ethnic and interest groups that are found in the city, but the complex ways in which they overlap and interact. The physical landscape of New York - the lack of space, the reliance on mass transit by people of vastly differing backgrounds, neighborhoods which are home to both the very rich and the extremely poor - makes it impossible for New Yorkers to ignore the influence of "others." From kosher Chinese restaurants to lrish hip-hop groups to Mexican pizzas, cultures from all corners of the globe have influenced one another in New York, in part because of their physical proximity.

The 2001 Smithsonian Folklife Festival celebrated just a few of the innumerable manifestations of traditional culture in New York City. More importantly, fieldwork leading up to the Festival allowed the Smithsonian, working in close collaboration with city-based cultural organizations and ethnic and occupational communities, to document daily life in New York City at the turn of the millennium. Material collected during the course of this research, as well as information recorded during and after the Festival, will significantly enrich the Smithsonian's archival holdings about New York City. A century from now, when scholars and writers want to know what it was like to live in New York in 2001, to work on Broadway, to drive a taxi, to trade stocks on Wall Street, or teach English in a school filled with recent immigrants, they can turn to the documentation collected by this project. That body of documentation - and the recordings and photographs made during the Festival itself - took on increased importance with the events of September 11, 2001, barely three months after the Festival had closed, which emphasized to all observers how the cultural values of New Yorkers, vividly on display to Festival visitors, also provided them a reservoir of resiliency to surmount those tragic events.

Nancy Groce was Senior Curator for the program, supported by several Area Curators: Ray Allen, music; Marion Jacobson, urban fashion; Annie Hauck-Lawson, foodways; Cathy Ragland, music; Ethel Raim, music; Henry Sapoznik, media; Brian Thompson, Wall Street; Kay Turner, Wall Street; and Steve Zeitlin, neighborhood. Arlene Reiniger was Program Coordinator.

An Advisory Committee included: Ruth Abram, Director, Lower East Side Tenement Museum; Gladys Pena Acosta, Director, RAICES; Ray Allen, Director, American Studies Program, Brooklyn College/CUNY; Gage Averill, Chair, Music Department, New York University; Fatima Bercht, Chief Curator, El Museo del Barrio; Melody Capote, Executive Director, Caribbean Culture Center/African Diaspora Institute; Barbara Cohen-Stratyner, Curator, New York Public Library for the Performing Arts; Cara De Silva, Food Historian; Miriam De Uriarte, Director of Education, El Museo del Barrio; Howard Dodson, Director, Schomburg Center for Research in Black Culture/NYPL; Sharon E. Dunn, Senior Assistant for the Arts, New York City Board of Education; Juan Flores, Professor, Black and Puerto Rican Studies, Hunter College/CUNY; Laura Hansen, Director, Place Matters, Municipal Art Society; John Haworth, Assistant Director, National Museum of the American Indian; Ellie Hisama, Director, Institute for Studies in American Music, Brooklyn College/CUNY; Barbara Kirshenblatt-Gimblett, Professor, Performance Studies Department, NYU; Leah Krauss, Program Officer, The New York Community Trust; Susana Torruella Leva!, Executive Director, El Museo del Barrio; Robert MacDonald, Executive Director, Museum of the City of New York; Fay Chew Matsuda, Executive Director, Museum of Chinese in the Americas; Ethel Raim, Executive Director, Center for Traditional Music and Dance; Jan Seidler Ramirez, Vice President of Public Affairs, New York Historical Society; Frances A. Resheske, Vice President of Public Affairs, Consolidated Edison Company; Joseph Sciarra, Academic Programs, Calandra Italian American Institute, Queens College; Gabrielle Shubert, Director, New York Transit Museum; Pravina Shukla, Assistant Professor, Folklore Department, Indiana University; John Kuo Wei Tchen, Director, Asian/Pacific/American Studies Program & Institute, NYU; Brian Thompson, Director, Museum of American Financial History; Michael Wallace, Historian and Author, CUNY; Steve Wheeler, Archivist, New York Stock Exchange; Theodora Yoshikami, Multicultural Program, American Museum of Natural History; Steven Zeitlin, Executive Director, City Lore: The Center for Urban Culture.

The program was produced in collaboration with New York's Center for Traditional Music and Dance and City Lore, with major funding from the New York City Council, the New York City Department of Cultural Affairs, Howard P. Milstein, and the New York Stock Exchange. The Leadership Committee was co-chaired by The Honorable Daniel Patrick Moynihan and Elizabeth Moynihan and corporate chairman Howard P. Milstein. Major support was provided by Amtrak, Con Edison, the Recording Industries Music Performance Trust Funds, Arthur Pacheco, and the Metropolitan Transportation Authority. Major contributors included The New York Community Trust, The Coca-Cola Company, The Durst Foundation, the May & Samuel Rudin Family Foundation, Leonard Litwin, Bernard Mendik, and Stephen and Judy Gluckstern. Additional donors included Emigrant Savings Bank, Jeffrey Gural, Lester Morse, Richard Schwartz, Michael Bloomberg, Keyspan Energy, Martin Segal, and Earle Mack.
Researchers:
Jerald Albarelli, Ray Allen, Emily Botein, Lori Branston, Kathleen Condon, Martha Cooper, Amanda Dargan, Andrew Davis, Tony DeNonno, Sonia Estreich, Makale Faber, Kwali Farbes, Michael Greene, Laura Hansen, Annie Hauck-Lawson, Marion Jacobson, Denise Lynn, Elena Martinez, Cathy Ragland, Ethel Raim, Henry Sapoznik, Roberta Singer, Les Slater, Scott Spencer, Brian Thompson, Kay Turner, Tom Van Buren, Li Wangsheng, Bill Westerman, Lois Wilken, Steven Zeitlin
Presenters:
Judy Adamson, Ray Allen, Dwight Blocker Bowers, Kathleen Condon, Andrew Davis, James Early, Makale Faber, Juan Flores, Annie Hauck-Lawson, Marion Jacobson, Barbara Kirshenblatt-Gimblett, Wangsheng Li, Elena Martinez, Cathy Ragland, Ethel Raim, Kristin Richard, Henry Sapoznik, Les Slater, Brian Thompson, Kay Turner, Tom Van Buren, Meg Ventrudo, Cynthia Vidaurri, George Zavala, Steve Zeitlin
Participants:
Arts & Artists

Wilfreda "Bio" Feliciano, muralist, Tats Cru

Hector "Nicer" Nazario, muralist, Tats Cru

Sotero "BG 183" Ortiz, muralist, Tats Cru

Gaspar Ingui, neon sign maker

Robbie Ingui, neon sign maker

Theresa Ingui, neon sign maker

Backstage Broadway

Judy Adamson, costume maker, Barbara Matera

Jarred Aswegan, costume maker, Barbara Matera

Gary Brouwer, theatrical milliner

Kimberly Cea, actress

Edie Cowan, director, choreographer

Brian Healy, prop maker, armorer, Costume Armour

Bob Kelly, wig maker, make-up artist

Polly Kinney, costume maker, Barbara Matera

Janice Lorraine, actress

Terry Marone, Gypsy Robe, Actors' Equity

Barbara Matera, costume maker

Nino Novel lino, prop maker, Costume Armour

Peter Ray, prop maker, Costume Armour

Woody Regan, rehearsal pianist

Linda Rice, wig maker, Bob Kelly

Tom Rocco, actor

Tom Schneider, theatrical milliner

Scott Sliger, make-up artist, Bob Kelly

Josephine Spano, costume maker, Barbara Matera

Patricia Sullivan, costume maker, Barbara Matera

Brian Wolfe, prop maker, Costume Armour

Leslie Wolfe, prop maker, Costume Armour

Building Trades

George Andrucki, sheet metal worker, Local 28

Stan Bernstein, sheet metal worker, Local 28

William Bush, water tank builder

Adonis Cegisman, water tank builder

Ryszard Danielewski, water tank builder

John DeGeorge, water tank builder

Robin Delk, sheet metal worker, Local 28

Nicholas Maldarelli, sheet metal worker, Local 28

Leah Rambo, sheet metal worker, Local 28

Andrew Rosenwach, water tank builder

Thomas Schlitz, sheet metal worker, Local 28

George Treanor, sheet metal worker, Local 28

Arthur Tyburski, sheet metal worker, Local 28

Urban Fashion & Garment Industry

Britt Bowers, window display and design, Fashion Institute of Technology

Vanessa Burgos, needle trade worker, Garment Industry Development Corporation

Lidia Carrera, needle trade worker, UNITE! Local 23-25

Esther Cheung, needle trade worker, Garment Industry Development Corporation

Mary Costantini, mannequin sculptor

Linda Dworak, director, Garment Industry Development Corporation

Shiniji Horimura, window display and design, Fashion Institute of Technology

Elizabeth Jacobsen, window display and design, Fashion Institute of Technology

Anne Kong, window display and design, Fashion Institute of Technology

Anne Liu, needle trade worker, Garment Industry Development Corporation

Nicole Mata, window display and design, Fashion Institute of Technology

Adrienne Muken, window display and design, Fashion Institute of Technology

Ana Perez, needle trade worker, Garment Industry Development Corporation

Ramon Roman, window display and design, Fashion Institute of Technology

Isabel Toledo, fashion designer

Ruben Toledo, fashion designer

Monica Williamson, window display and design, Fashion Institute of Technology

May Xian, needle trade worker, Garment Industry Development Corporation

Foodways

Salvator Bartolomeo, Italian cook

Kam-Chung Chan, Chinese cook

Cara De Silva, food researcher, writer

Makale Faber, West African cook

Mark Federman, Jewish appetizing

Trevor Fraser, West Indian, Caribbean cook

Theresa lngui, Polish, German cook

Barbara Kirshenblatt-Gimblett, food historian

Alana Grace Lawson, Polish cook

Vertamae Grosvenor, African-American cook

Molly O'Neill, food writer and chef

Ming Hua Qian, Chinese cook

Donald Ross, bagel and bialy maker

Esta Ross, bagel and bialy maker

Steve Ross, bagel and bialy maker

Community Media

Clay Berry, producer, African-American radio

Kathleen Biggins, host, Irish-American radio

Joe Franklin, host, entertainment community

Debi Jackson, producer, African-American radio

Hal Jackson, host, African-American radio

Bill Jaker, 1939-, radio historian

René Lopez, host, Latino radio

Henry Sapoznik, host, Yiddish radio

Music, Dance & Performance

Wrickford Dalgetty, Caribbean song

Julio Diaz, Latin dancer

Tony DeMarco, Irish fiddle

Linda Hickman, Irish flute

D.J. Angola, turntablist

D.J. Rehka, turntablist

ABDOULAYE DIABATE & SUPER MANDEN -- ABDOULAYE DIABATE & SUPER MANDENAbdoulaye Diabate, director, vocals, guitarChiek Barry, bassMoussa Cissoko, n'goni, guitarAboubakar Diabate, djembeMamadou Diabate, 1975-, koraTapani Sissoko, vocalsAbou Sylla, bala

APOLLO THEATRE, AMATEUR NIGHT AT THE APOLLO -- APOLLO THEATRE, AMATEUR NIGHT AT THE APOLLOVanessa Brown, Amateur Night assistantJoseph Gray, lead vocalsJane Harley, Kemet ProductionsMonteria Ivey, hostSteve Jones, production managerC.P. Lacey, The ExecutionerShirley Matthews, coordinating producerMoni-J, hostessDavid Rodriguez, executive director

RAY CHEW & THE CREW -- RAY CHEW & THE CREWRay Chew, musical directorMike Ciro, guitarBobby Douglas, keyboardArtie Reynolds, bassRalph Rolle, drums

CHERISH THE LADIES -- CHERISH THE LADIESSean Conner, step dancerDeirdre Connolly, tin whistle, vocalsMary Coogan, guitar, banjo, mandolinKatie Fox, step dancerDonna Long, piano, fiddleJoanie Madden, director, tin whistle, flute, vocalsPaul McKeown, sound engineerMary Rafferty, accordion, tin whistleMarie Reilly, fiddle

CHERES UKRAINIAN FOLK ENSEMBLE -- CHERES UKRAINIAN FOLK ENSEMBLEAndriy Milavsky, leader, woodwindsVictor Cebotari, accordionGeorge Cheremush, violinAlexander Fedoriouk, cymbaly (hammered dulcimer)Oleh Ivanyschuk, contrabass

DAVID DAVID -- DAVID DAVIDLauterio Polanco, director, lead vocals, accordionAdriel Espaillat, guieraAdelso Fernandez, bajoKenny Fernandez, tamboraMenecio Martinez, pianoHector Mota, saxophoneFernando Rodreguez, conga

FRISNER AUGUSTIN AND LA TROUPE MAKANDAL -- FRISNER AUGUSTIN AND LA TROUPE MAKANDALFrisner Augustin, 1948-2012, lead drums, vocalsRaymond Charles, third drumSteve Deats, second drumSmith Destin, dancerKethelyne Jean-Louis, dancerKesler Pierre, percussionSandy St. Cyr, dancer

HANGUK: SOUNDS OF KOREA (KOREAN TRADITIONAL PERFORMING ARTS ASSOCIATION) -- HANGUK: SOUNDS OF KOREA (KOREAN TRADITIONAL PERFORMING ARTS ASSOCIATION)Gee Soak Back, percussionHyung Joan Kim, percussionChii-Seung Kwon, percussionJi-Young Park, dancer, percussionSue Yeon Park, dancer, percussionKathy Soh, dancer, percussionMaggie Soh, percussion

LOS AFORTUNADOS -- LOS AFORTUNADOSFelix Sanabria, director, congas, bata, percussionFrancisco Cotto, bassPedro Domeich, dancer, vocalsAlbert Lusink, trumpetAbraham Rodriguez, vocals, percussionMichael Rodriguez, percussionBrandon Rosser, percussionSusan Richardson Sanabria, dancerAdam Tully, tres guitar

LOS MACONDOS -- LOS MACONDOSJorge L. Marquez, bajoEugenio R. Ortega, accordion, lead vocalsJuan A. Ortega, caja vallenata, vocalsDavid Pacheco, timbalesGuillermo E. Penate, guieroMario A. Rodriguez, congas

LOS PLENEROS DE LA 21 -- LOS PLENEROS DE LA 21Juan J. Gutierrez, leader, tamboreroAlberto Cepeda, güiro, tamboreroRoberto Cepeda, vocals, bailador de bomba, güiro, maraca, tamboreroJose Lantigua, keyboardHector Matos, vocals, tamboreroEdgardo Miranda, cuatroDonald Nicks, bassJose Rivera, vocals, tamboreroDomingo Tanco, vocalsNellie Tanco, vocals, bailadora de bomba, tamboreraVictor Velez, vocals, tamborero

MERITA HALILI & THE RAIF HYSENI ORCHESTRA -- MERITA HALILI & THE RAIF HYSENI ORCHESTRAGezim Halili, clarinet, saxophoneMerita Halili, vocalsRaif Hyseni, accordionArtan Kushi, dajreTome Lleshaj, bass guitarEdmond Xhani, laouta

MESAOUDA JUDEO-ARABIC ENSEMBLE -- MESAOUDA JUDEO-ARABIC ENSEMBLEMarc Hazan, vocalsJoshua Levitt, naiHaig Manoukian, oudTomer Tzur, percussion

MUKTHAMBAR FINE ARTS, INC. -- MUKTHAMBAR FINE ARTS, INC.A. Balaskandan, violinBala Ganesh, mrudangist (Asian Indian drum)Aarati Ramanand, dancerSaavitri Ramanand, vocals

MUSIC FROM CHINA -- MUSIC FROM CHINASusan Cheng, director, daruanChung Bun Chiu, percussionWai Wah Law, vocalsGao Renyang, dizi, xiaoGuowei Wang, erhu, zhong hu, daohuTienjou Wang, gou hu, zhong huHerman Wong, concert managerMin Xiaofen, pipaHelen Yee, yang qinYing Ying Zhu, vocals

SAU FAMILY ORCHESTRA -- SAU FAMILY ORCHESTRAZoran Muncan, keyboardErnie Sau, button accordionMichael Sau, button accordionVinnie Sau, violin

SHASHMAQAM BUKHARAN JEWISH CULTURAL GROUP -- SHASHMAQAM BUKHARAN JEWISH CULTURAL GROUPAbokhay Aminov, vocals, doyra (drum)Tavriz Aronova, ensemble memberDavid Davidov, tarFiruza Junatan, dancerShumiel Kuyenov, doyra (drum)Boris Kuknariyev, accordionIzro Malakov, vocals

SIMON SHAHEEN & QANTARA -- SIMON SHAHEEN & QANTARASimon Shaheen, director, oud, violinOlga Chirino, keyboardsBilly Drewes, soprano saxJamie Haddad, world percussionFrancois Moutin, contrabassAdam Rogers, acoustic and electric guitarBassam Saba, flute, naiLuis Santiago, Latin percussionNajib Shaheen, oudSteve Sheehan, world percussionSoraya, vocalsMartin Zarzar, world percussion

SON MUNDANO -- SON MUNDANOBobby Allende, bongosJimmy Bosch, 1962-, tromboneNelson Gonzalez, Cuban tresNelson Gonzalez, Jr., lead vocalsOscar Hernandez, electric pianoRene Lopez, Jr., congasLuis Rosa, vocalsJoe Santiago, upright bass

VISION BAND

X-ECUTIONERS -- X-ECUTIONERSD.J. AngolaTotal EclipsePeter KangRoc RaiderMista SinistaRob Swift

YURI YUNAKOV ENSEMBLE -- YURI YUNAKOV ENSEMBLELauren Brody, keyboard, vocalsCatherine Foster, clarinetIvan Milev, accordionGeorge Petrov, drumsCarol Silverman, vocalsYuri Yunakov, 1958-, saxophone

Neighborhood & Community Life -- Neighborhood & Community LifeLori Brandston, urban sports and gamesSam Chwat, speech therapist, dialect coachMichael E. Clark, Citizens Committee for New York CitySonia Estreich, Citizens Committee for New York CityMichael Greene, urban sports and gamesLaura Hansen, Place Matters, Municipal Art SocietyRoberta Jones, storytellerJessica Katz, Citizens Committee for New York CityAnnie Lanzilloto, storyteller, performance artistMoe Maloney, community activist, "Mayor of Windsor Terrace"Rosalyn Perry, storytellerLiz Sevcenko, Memory Map, Lower East Side Tenement Museum

Street Life, Festival, Celebration

Mikey Enoch, steel pan tuner

Richie Richardson, Caribbean carnival costume maker

Les Slater, Caribbean carnival culture

Transit

Carissa Amash, New York Transit Museum

Bruce Alexander, subway engineer, MTA

Chris Creed, subway engineer, MTA

Sandra Lane, subway operator, MTA

Anthony Palombella, bus operator, MTA

Luz Montano, New York Transit Museum

Tarin Reid, subway operator, MTA

Charles Sachs, Sr., curator, New York Transit Museum

Gabrielle Shubert, director, New York Transit Museum

Mark Watson, New York Transit Museum

Wall Street

Richard Anderson, Jr., stock market investor, speaker

Richard Anderson, Sr., stock market investor, analyst

Richard Baratz, caricaturist, stock certificate engraver, American Bank Note Company

Madeline Boyd, trader, New York Stock Exchange

Victoria Chukwuka, New York Metro Coordinator, Stock Market Game

Joseph Cicchetti, trader, New York Mercantile Exchange

Anthony DeMarco, trader, New York Board of Trade

Joe Gabriel, engineer, plant manager, New York Stock Exchange

Michael Geoghan, clerk, New York Mercantile Exchange

John E. Herzog, founder, Museum of American Financial History

Scott Hess, trader, New York Mercantile Exchange

Myron Kandel, senior financial editor, CNN

Michael LaBranche, specialist, New York Stock Exchange

Gary Lapayover, trader, New York Mercantile Exchange

Michel Mark, New York Mercantile Exchange

Mark Tomasko, financial printer, engraving historian

Nancy Norton Tomasko, financial printer

Steve Wheeler, archivist, New York Stock Exchange

Jason Zweig, columnist, -- Money -- Magazine

Generations: a centennial tribute to Margaret Mead

THE FLOWERS FAMILY SINGERS -- THE FLOWERS FAMILY SINGERSRev. James N. Flowers, Jr., director, vocals, Ft. Washington, MarylandAnthony Flowers, vocals, keyboard, Seat Pleasant, MarylandYolanda Flowers, vocals, Capital Heights, MarylandMarie Hickson, vocals, Capital Heights, MarylandDorothy McDowell, vocals, Upper Marlboro, MarylandMargie Pickett, vocals, Landover, MarylandErma Reed, vocals, Landover, MarylandMildred Scruggs, vocals, Capital Heights, Maryland

WALKER CALHOUN AND THE RAVEN ROCK DANCERS -- WALKER CALHOUN AND THE RAVEN ROCK DANCERSWalker Calhoun, director, vocals, drum, rattle, Cherokee, North CarolinaAndrew Calhoun, dancer, Cherokee, North CarolinaJennifer Calhoun, dancer, Cherokee, North CarolinaChris Mahan, dancer, Cherokee, North CarolinaVelma Mahan, dancer, Cherokee, North CarolinaDelana Smith, dancer, Cherokee, North CarolinaPatrick Smith, dancer, vocals, Cherokee, North Carolina

THE SAU FAMILY ORCHESTRA, RIDGEWOOD, QUEENS, NEW YORK -- THE SAU FAMILY ORCHESTRA, RIDGEWOOD, QUEENS, NEW YORKZoran Muncan, keyboard, Ridgewood, Queens, New YorkAksenti Sau, piano accordion, Ridgewood, Queens, New YorkErnie Sau, button accordion, Ridgewood, Queens, New YorkMichael Sau, button accordion, Ridgewood, Queens, New YorkNikica Sau, keyboard, Ridgewood, Queens, New YorkVinnie Sau, violin, Ridgewood, Queens, New York
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2001, Series 4
See more items in:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-2001-ref34

Eldredge Prize Lecture with Michael Lobel | Smithsonian American Art Museum

Creator:
Smithsonian American Art Museum  Search this
Type:
Lectures
YouTube Videos
Uploaded:
2016-10-27T21:31:00.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_hv_0EDZI-ps

Patricia Johanson papers, 1964-1998

Creator:
Johanson, Patricia, 1940-  Search this
Johanson, Patricia, 1940-  Search this
Type:
Articles
Interviews
Photographs
Transcripts
Topic:
Sculpture, Modern -- 20th century  Search this
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)6794
(DSI-AAA_SIRISBib)208921
AAA_collcode_johapatr
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208921
Online Media:

Elaine de Kooning papers

Creator:
De Kooning, Elaine  Search this
Names:
Chessman, Caryl, 1921-1960  Search this
De Kooning, Willem, 1904-1997  Search this
Kennedy, John F. (John Fitzgerald), 1917-1963  Search this
Extent:
1.1 Linear feet
0.003 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Transcripts
Interviews
Scrapbooks
Sound recordings
Date:
circa 1959-2013
Summary:
The scattered papers of Abstract Expressionist painter Elaine de Kooning are dated circa 1959-2013 and measure 1.1 linear feet and 0.003 GB. Found within the papers are letters, writings, a sketch of John F. Kennedy, notes, a sound recording, a few documents regarding Willem de Kooning, transcripts of interviews of de Kooning, transcripts of recorded conversations between de Kooning and others, and transcripts of lectures by de Kooning and others. There are a few photographs of de Kooning and of de Kooning with others, including John F. Kennedy, artist James Bohary, and Ad Reinhardt, and of artwork. Most of the transcripts and few photographs are digitized. Also found are printed materials and two scrapbooks containing a variety of documents about de Kooning's protest against the death penalty and efforts to save the life of convicted criminal Caryl Chessman.
Scope and Contents:
The scattered papers of Abstract Expressionist painter Elaine de Kooning are dated circa 1959-2013 and measure 1.1 linear feet and 0.003 GB. Found within the papers are letters, writings, a sketch of John F. Kennedy, notes, a sound recording, a few documents regarding Willem de Kooning, transcripts of interviews of de Kooning, transcripts of recorded conversations between de Kooning and others, and transcripts of lectures by de Kooning and others. There are a few photographs of de Kooning and of de Kooning with others, including John F. Kennedy, artist James Bohary, and Ad Reinhardt, and of artwork. Most of the transcripts and few photographs are digitized. Also found are printed materials and two scrapbooks containing a variety of documents about de Kooning's protest against the death penalty and efforts to save the life of convicted criminal Caryl Chessman.
Arrangement:
The collection is arranged as 5 series:

Missing Title

Series 1: Personal Papers, circa 1960s-1989 (Boxes 1, 3; 0.2 linear feet)

Series 2: Interviews, Conversations, and Lectures, 1978-1988 (Box 1, ER01; 0.3 linear feet, 0.001 GB)

Series 3: Photographs, circa 1960s (Box 2, ER02; 4 folders, 0.002 GB)

Series 4: Printed Material, 1961-1982 (Boxes 2-3; 5 folders)

Series 5: Scrapbooks, circa 1959-1962 (Boxes 2-3: 0.3 linear ft.)
Biographical / Historical:
Elaine de Kooning (1918-1989) was an Abstract Expressionist painter, teacher and writer who lived and worked in New York City and East Hampton, N.Y.

Born in Brooklyn, New York, de Kooning studied briefly at Hunter College before enrolling at the Leonardo da Vinci Art School in New York City. She had her first solo exhibition in 1952 at the Stable Gallery in New York and has paintings in the permanent collections of the Museum of Modern Art, the Solomon R. Guggenheim Museum and other institutions. She taught at Yale University, Carnegie Mellon Institute, University of Pennsylvania and other colleges and art schools. Elaine de Kooning died of lung cancer in 1989 at Southampton Hospital in Southampton, New York. Willem de Kooning, her husband of 48 years, survived her.
Related Materials:
Among the holding of the Archives is an oral history interview conducted in 1981 by Phyllis Tuchman, for the Archives of American Art's Mark Rothko and His Times oral history project. Also found is a collection of Elaine and Willem de Kooning financial records.
Provenance:
The collection was donated to the Archives of American Art in 2003 by Denise Lassaw, de Kooning's goddaughter and her mother Ernestine Lassaw, and in 2013-2015 by Denise Lassaw. Interview transcripts and lectures were donated in 2015 by Doris Aach, a friend who transcribed them for de Kooning.
Restrictions:
Use of original materials requires an appointment.
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:
Educators -- New York (State)  Search this
Painters -- New York (State)  Search this
Topic:
Artists -- Political activity  Search this
Capital punishment  Search this
Abstract expressionism  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Genre/Form:
Photographs
Transcripts
Interviews
Scrapbooks
Sound recordings
Citation:
Elaine de Kooning papers, circa 1959-1989. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dekoelas
See more items in:
Elaine de Kooning papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dekoelas
Online Media:

Patricia Johanson papers

Creator:
Johanson, Patricia, 1940-  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Articles
Interviews
Photographs
Transcripts
Date:
1964-1998
Summary:
Papers of sculptor Patricia Johanson include professional and personal correspondence, 1967-1998; writings on public art, articles, and reviews; a transcript of an interview of Johanson conducted by Jan Evans; a copy of a Master's thesis written on Johanson's sculpture; clippings, exhibition catalogs and announcements; and photographs of Johanson and her work. The collection measures 1.5 linear feet and dates from 1964 to 1998.
Scope and Content Note:
Papers of sculptor Patricia Johanson include professional and personal correspondence, 1967-1998; writings on public art, articles, and reviews; a transcript of an interview of Johanson conducted by Jan Evans; a copy of a Master's thesis written on Johanson's sculpture; clippings, exhibition catalogs and announcements; and photographs of Johanson and her work. The collection measures 1.5 linear feet and dates from 1964 to 1998.
Arrangement:
The collection is arranged as 5 series:

Missing Title

Series 1: Biographical Material, 1975-1997 (Box 1; 1 folder)

Series 2: Correspondence, 1967-1998, n.d. (Box 1; 17 folders)

Series 3: Writings, 1968-1997, n.d. (Box 1 and OV 3; 7 folders)

Series 4: Printed Material, 1966-1998, n.d. (Boxes 1-2 and OV 3; 12 folders)

Series 5: Photographs, 1962-1996, n.d. (Box 2 and OV 3; 8 folders)
Biographical Note:
Patricia Johanson, born in 1940, is an environmental sculptor and architect who creates large scale public works to solve environmental problems and create habitat and public recreational space. She graduated from Bennington College in 1962 and earned an M.A. in art history at Hunter College (1964). Johanson took civil engineering classes at New York's City College School of Architecture, earning a Bachelor's degree in Architecture in 1977. Inspired by the enormous canvases of the Abstract Expressionists, Johanson created huge sculptures such as Stephen Long (1968) which went beyond the field of vision and interacted with the environment. Johanson designed sculpture for Con Edison's Indian Point Nuclear Generating Plant (1972), the Whitney Colleges at Yale University (1972), and Columbus East High School, Columbus, Indiana (1973). Her architectural projects include Fair Park Lagoon in Dallas, Texas (1981-1982), Tidal Sculpture Garden for Pelham Bay Park in New York (1984), and the San Fransisco baywalk which transformed a new sewer into a public amenity and work of art. Her Park for the Amazon Rainforest (1992), commissioned for the Earth Summit, is an environmental sculpture that provides access from ground level up through the forest canopy along the Amazon River near Obidos, Brazil. Johanson's more recent projects include a master plan and ecological playgrounds for Ulsan Dragon Park (1996), a 912-acre site in South Korea, and the Rocky Marciano Trail and Salisbury River Greenway in Brockton, Massachusetts. Her husband is art historian Eugene C. Goossen.
Provenance:
Patricia Johanson donated her papers in 1975, 1983, 1989, 1997, and 1998.
Restrictions:
Use of original papers requires an appointment.
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:
Sculptors -- New York (State) -- New York  Search this
Topic:
Sculpture, Modern -- 20th century  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Articles
Interviews
Photographs
Transcripts
Citation:
Patricia Johanson papers, 1964-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.johapatr
See more items in:
Patricia Johanson papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johapatr

Richard Lippold papers, 1940s-1977

Creator:
Lippold, Richard, 1915-2002  Search this
Lippold, Richard, 1915-2002  Search this
Type:
Motion pictures
Topic:
Public art  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9148
(DSI-AAA_SIRISBib)211342
AAA_collcode_lipprich
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211342

Hunter College

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 46, Folder 63
Type:
Archival materials
Date:
1927
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection 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.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 1: Correspondence Files / 1.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref8609

Richard Lippold papers

Creator:
Lippold, Richard, 1915-2002  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures
Date:
1940s-1977
Summary:
The papers of sculptor and educator Richard Lippold measure 1.3 linear feet and date from 1940s to 1977. The collection provides documentation on Lippold's career through correspondence, writing files, project files, printed materials, and several motion picture films.
Scope and Contents:
The papers of sculptor and educator Richard Lippold measure 1.3 linear feet and date from 1940s to 1977. The collection documents Lippold's career through correspondence, writing files, project files, printed materials, and several motion picture films.

Correspondence includes letters to and from museums and galleries, architects, clients, friends, teaching colleagues, and other artists discussing various professional and non-professional topics. Writing files include drafts and transcripts of speeches on art, society, and sculpture given by Lippold; personal writings and notes; statements on his own art and the art of other artists; and teaching materials such as drafts of syllabi, course schedules, and lectures. Project files mostly relate to public commissions and contain correspondence, status reports, work schedules, financial information, sketches and preliminary drawings, agreements, as well as some writings. Printed materials include newspaper clippings; seven issues of the publication, "Dance Observer," for which Lippold served among its editors and contributors; and some exhibition material. Film footage includes the dedication of Lippold's "Orpheus and Apollo" at the Lincoln Center in 1962; a documentary made about Lippold's sculpture, "The Sun," at the Metropolitan Museum of Art; and scenes of Lippold's "World Tree" at Harvard University.
Arrangement:
This collection is arranged as five series.

Series 1: Correspondence, 1945-1977 (Box 1; .5 linear feet)

Series 2: Writing Files, 1940s-1970s (Box 1; 10 folders)

Series 3: Project Files, 1950-1972 (Box 1-2; .5 linear feet)

Series 4: Printed Material, 1943-1973 (Box 1; 6 folders)

Series 5: Motion Picture Film, circa 1960s (FC 2-4; .3 linear feet)
Biographical / Historical:
Richard Lippold (1915-2002) was a sculptor and educator in New York, NY. Born in Milwaukee, Wisconsin, he studied at the University of Chicago and received training in industrial design at the Art Institute of Chicago. He also studied dance and piano. After graduating, Lippold started his own industrial design studio, but soon ended this endeavor to teach design and engineer drawing and mechanics at the University of Michigan in 1941. After moving to New York in 1944, Lippold began his career as a professional artist, exhibiting his work and creating public art installations. His art was known for metal, gold, and silver wire, rods, and bars used to create geometric sculptures that often incorporated a component of suspension. His installations can be found in museums, building lobbies, and universities across America including Flight found in the Pan Am (now the Met Life) Building, The Sun in the Museum of Modern Art, Baldacchino in St. Mary's Cathedral, California, and Ad Astra in front of the Smithsonian's National Air and Space Museum. Notable group exhibitions featuring Lippold's work include Abstract Painting and Sculpture in America (1951) and Fifteen Americans(1952) both at the Museum of Modern Art, Venice Biennale (1988), and Sculpture: American Directions, 1945-75 (1975) at the Whitney Museum of American Art. Marquette University's Haggerty Museum of Art held a retrospective exhibition for Lippold in 1990. His work is found in collections at the Museum of Modern Art, Whitney Museum of American Art, the Metropolitan Museum of Art, and more. In addition to the University of Michigan, Lippold also taught at Goddard College in Plainfield, Vermont, Trenton Junior College in New Jersey, and Hunter College in New York where he taught for over a decade.
Separated Materials:
The Archives of American Art also holds microfilm (reel N69-24) of material loaned for microfilming including correspondence; catalogs; clippings; writings; and papers relating to the Conference on Government Participation in the Arts and Humanities. Loaned materials were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The collection was donated in several installments by Richard Lippold between 1968-1977. Materials found on reel N69-24 were lent for microfilming 1968-1969.
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:
Sculptors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Topic:
Public art  Search this
Genre/Form:
Motion pictures
Citation:
Richard Lippold papers, 1940s-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipprich
See more items in:
Richard Lippold papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipprich

Correspondence

Collection Creator:
Lippold, Richard, 1915-2002  Search this
Extent:
0.5 Linear feet (Box 1)
Type:
Archival materials
Date:
1945-1977
Scope and Contents:
Files consist of business and general correspondence with museums and galleries, architects, clients, and others involved with Lippold's artwork and public commissions. Personal correspondence is with friends and other artists discussing various professional and non-professional topics. Notable correspondents include: Josef Albers, William Baziotes, Naum Gabo, Morris Graves, Walter Gropius, Mark Rothko, Eero Saarinen, and Mark Tobey. Also present is one folder that contains correspondence, salary information, and certificates from Lippold's time as professor at Hunter College.
Collection 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.
Collection 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.
Collection Citation:
Richard Lippold papers, 1940s-1977. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipprich, Series 1
See more items in:
Richard Lippold papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipprich-ref16

Hunter College

Collection Creator:
Lippold, Richard, 1915-2002  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1952-1960
Collection 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.
Collection 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.
Collection Citation:
Richard Lippold papers, 1940s-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Richard Lippold papers
Richard Lippold papers / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipprich-ref21

"Praise, Praise, Praise," Hunter College Honors Convocation

Collection Creator:
Lippold, Richard, 1915-2002  Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Date:
1958
Collection 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.
Collection 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.
Collection Citation:
Richard Lippold papers, 1940s-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Richard Lippold papers
Richard Lippold papers / Series 2: Writing Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipprich-ref26

Norma Merrick Sklarek Archival Collection

Creator:
Sklarek, Norma Merrick, 1926-2012  Search this
Names:
American Institute of Architects  Search this
Gruen Associates  Search this
Covington, Garnett K.  Search this
Davis, Carolyn Armenta, 1944-  Search this
Diamond, Katherine  Search this
Donaphin, Alexa Barnes  Search this
Grant, Bradford C.  Search this
Gruen, Victor, 1903-1980  Search this
Harney, Henrietta  Search this
Hermanuz, Ghislaine  Search this
Hinton-Lee, W. Chris  Search this
Hutchinson, Louise Daniel  Search this
LeGendre, Laurette  Search this
Love-Stanley, Ivenue  Search this
Mills, Marlene E.  Search this
Moseley-Olaleye, Joyce  Search this
Pelli, Cesar  Search this
Schwartz, Robert (Robert E.)  Search this
Siegel, Margot  Search this
Sklarek, Rolf  Search this
Sutton, Sharon E., 1941-  Search this
Tyler, Kathryn B.  Search this
Washington, Roberta  Search this
Williams, Paul R., 1894-1980  Search this
deJongh, Donna  Search this
Extent:
4.8 Cubic feet
Type:
Collection descriptions
Archival materials
Correspondence
Place:
Brooklyn (New York, N.Y.)
Harlem (New York, N.Y.)
Los Angeles (Calif.)
Date:
1944-2008
Scope and Contents:
The Norma Merrick Sklarek Archival Collection documents the prestigious and groundbreaking career of one of the early women architects who also broke ground for African American architects as well. The collection highlights Sklarek's journey and accomplishments as she paved the way for future women architects and architects of color. The collection is comprised of family records, resumes, business ephemera, photographs, correspondence, publications, clippings, architectural drawings, as well as her many awards and accolades.
Arrangement:
The materials in this collection have been separated into eight series. The materials have been ordered and organized based on the content and chronology. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
Biographical / Historical:
Norma Merrick Sklarek was a renowned architect and a woman of firsts who broke racial and gender barriers earning her place in the male-dominated world of architecture. She was the first Black woman member and esteemed fellow of the highly respected architectural professional organization, American Institute of Architects (AIA). Norma was distinguished in her career for leading challenging assignments and managing large, complex construction projects.

Norma Merrick was born April 15, 1926 to Dr. Walter Ernest Merrick, and Amelia (Amy) Willoughby in Harlem, New York City, New York. Her parents had emigrated from Trinidad, though her father was born in St. Vincent, West Indies. Norma's parents were a part of the first significant Caribbean immigration waves to the United States in the early 20th century. Arriving just a year before her birth, her parents saw possibility and education there. Her father, Walter attended Howard University and eventually became a physician. While her mother, Amy worked as a seamstress in a factory to make ends meet as Walter "wasn't much of a businessman" as described by Norma in an oral history interview. He practiced medicine in Harlem, New York. Norma stated that her father often served as a physician to African American celebrities such as Hazel Scott, Ethel Waters and Art Tatum. Walter was also a talented musician and carpenter that supported his daughter's love of art and math and encouraged her to pursue a career in architecture.

Around 1940, Norma was enrolled at the prestigious Hunter College High School for the intellectually gifted and "Ivy League-bound" young women. Excelling academically, Norma attended Barnard University, the prestigious women's college formerly administered by Columbia University. She attended Barnard initially in order to gain a year of a liberal arts education so that she could be accepted into then-known Columbia University School of Architecture. In 1947, she met and married, Dumas Flagg Ransom, law student at nearby Wagner University. She subsequently gave birth to her first son, Gregory Merrick Ransom shortly thereafter. She graduated from Columbia in 1950 with a Bachelor of Architecture (B.Arch.) degree. She was one of only two women and the only African American in her graduating class.

Despite her Columbia University pedigree, her race and gender made it predictably difficult to obtain employment. Norma easily recalls in an oral history interview later in life that she was turned down by nineteen prospective employers. It was on the twentieth interview with the Department of Public Works (DPW) that she was hired as a junior draftsperson for New York City. She passed her architecture licensing examination in 1954 becoming the first Black woman believed to be licensed to practice architecture in New York. Despite a poor recommendation from her DPW supervisor, she worked briefly at Katz, Waisman, Blumenkranz, Stein and Weber as a junior associate. She felt stifled and unchallenged and left that firm to do some rendering coloring work with notable New York architect, Bob Schwartz. In 1955, she started working at notable architectural firm, Skidmore, Owings, and Merrill (SOM) in New York City where she was given larger-scale projects. At the same time, she taught architecture courses at New York City Community College (presently called the New York City College of Technology) located in Brooklyn, NY. She was the school's first woman faculty member. It was also during her tenure at SOM that Norma joined AIA and inadvertently became the organization's first African American woman member. She was a member of the Council for the Advancement of the Negro in Architecture, a New York-based group. During all this groundbreaking work, Norma was a twice-divorced mother of two sons with the birth of her second son, David Merrick Fairweather from her union with Benjamin Fairweather. Norma depended on the assistance of her family in raising her sons while she worked and advanced her career.

In an effort to advance her career, Norma moved to Los Angeles, California to work with architectural firm, Gruen Associates in 1960. A requisite for an architect in California, Norma became the first Black woman to be a licensed architect in the state. Gruen Associates, founded by visionary Austrian architect Victor Gruen, was notable for their pioneering work with shopping malls and multi-use buildings. At Gruen, in 1965 she earned the director of architecture position where she was responsible for hiring and overseeing multiple staff members as well as serving as project manager on several high-profile projects for the firm.

Her projects included the high-rise multi-use building California Mart (1963), now known as California Market Center; skyscraper Fox Plaza (1966) in San Francisco and some of Norma's most notable work for Gruen, The Pacific Design Center (1975), a multi-use facility utilized by the California's bustling apparel and fashion industry. Norma's contributary design is affectionately known by California's locals as the "Blue Whale." Norma worked on the latter project with Gruen's lead architect at the time, Cesar Pelli, known for some of the world's tallest buildings, most notably World Finance Center (Brookfield Place) in New York City. Pelli also shared his credit with Norma for her exemplary contribution to the renovation and redesign of the San Bernardino City Hall (1972) in California as well as their work on the U.S. Embassy (1976) in Tokyo, Japan. While at Gruen, Norma married Rolf Sklarek, a fellow architect at the firm. She also taught architecture courses at the University of California Los Angeles (UCLA) and the University of Southern California (USC). At UCLA, she was the first African American member of the faculty.

In 1980, she was finally recognized for all of her trailblazing and innovative work, when she became the first African American woman elected to the AIA College of Fellows. The highest honor within the architecture profession. This prestigious award gave her assurance that she could take her career to another level. She departed Gruen for Welton Becket & Associates, a prominent California firm renowned for iconic music and cultural centers, including the iconic Capitol Records building in Los Angeles. Norma was appointed as the vice president of the firm and lead project manager on one of her most notable works, Terminal One at the Los Angeles International Airport. She was recognized for the timely completion of the project as preparation for the influx of travelers to Los Angeles the for the 1984 Olympic Games. Norma also suffered the loss of her husband, Rolf Sklarek, the same year.

It was her work from the Los Angeles Airport project that empowered Norma to break yet another barrier. 1985 proved to be significant year as she became first African American woman to found and co-own a woman-owned architectural firm. Norma collaborated with fellow veteran architects Margot Siegal and Katherine Diamond to create Siegel-Sklarek-Diamond (SSD). SSD was one of the largest woman-owned architecture firms at the time. Their largest project was the Tarzana Promenade, a 90,000 sq. ft. medical and retail center, and the remodel and renovation of the Lawndale Civic Center; both located in California. Norma also designed work for the proposed Marva Collins Preparatory School in Compton, CA. The school was named after seminal educator, Marva Collins that had revolutionized education for low-income students in a crime-ridden area in Chicago, Ill. The hope was the replicate Collins' important work for children in Compton.

Being a new firm amidst the prevalence of racism and sexism within the profession left SSD at a disadvantage. Their projects were mainly residential and smaller commercial projects that didn't bring the income and accompanying challenges like larger scaled projects. Sklarek left SSD in 1989 for Jerde Partnership, an established innovator in the design and construction of shopping malls around the world. Norma was hired as the principal on the project management for the design and construction of the Mall of America. Located in Bloomington, Minnesota, it is considered to be the largest shopping mall in United States.

In 1992, Norma retired from the profession but did not resign herself to stop working. Norma became an active advocate in broadening the profession to include more women and people of color. She focused her work on teaching, lecturing, and mentoring. Over the years, she served as faculty and lecturer at several universities including UCLA, USC, University of Iowa, Kansas State University, California Polytechnic as well as her alma mater Columbia University. In an effort to inspire Black architects, Norma regularly lectured at HBCUs including Howard University, Hampton University, Tuskegee University, and Southern University.

Sklarek's work was recorded and recognized by the black press and publishers, such as her being included in Ebony magazine as early as 1958, in their article on "Successful Young Architects." In 2008, the AIA awarded her with the Whitney M. Young, Jr. Award that recognizes architects who represented the profession's responsibility to address social issues. She also served on multiple professional boards and committees, such as the California Architects Board, Professional Qualifications Committee, California State Board of Architectural Examiners, the AIA National Ethics Council and many more.

On February 6, 2012, Sklarek died in the Pacific Palisades, California at the age of 85. She was survived by her husband Cornelius Welch, whom she married in 1985; her son, David Merrick Fairweather, stepdaughter Susan Welch as well as three grandchildren. She was predeceased by her son Gregory Merrick Ransom in 2006.

Historical Timeline

1926 -- Norma Merrick was born to Amy Willoughby and Walter Merrick in Harlem, New York.

1944 -- Graduated from Hunter College High School, New York, NY

1944-1945 -- Attended Barnard College, New York, NY

1945-1950 -- Attended Columbia University in New York City earning a bachelor's degree in architecture (B.Arch.).

1947 -- Married Dumas Flagg Ransom and had son, Gregory Merrick Ransom. They later divorced.

1950 -- Married Elwyn (Benjamin) Fairweather and had son, David Merrick Fairweather. They later divorced.

1950-1955 -- Worked at the Department of Public Works, New York, NY

1954 -- Licensed in the state of New York; believed to be the first black woman architect licensed in New York

1959 -- First African American woman member of the American Institute of Architects (AIA).

1955-1960 -- Worked at Skidmore, Owings, and Merrill in New York, NY

1957-1960 -- Architecture faculty member at New York City Community College, Brooklyn, NY

1960 -- Married Francis "Harry" Pena in New York, NY. Moved to California and began working at Gruen Associates and served as the Director of Architecture until 1980.

1962 -- First African American woman architect licensed in California

1963 -- Sklarek coordinated the design and construction of the California Mart, Los Angeles, CA.

1966 -- Sklarek coordinated the design and construction Fox Plaza in San Francisco, CA.

1967 -- Sklarek divorced Pena and married Rolf Sklarek, a fellow architect at Gruen Associates.

1970 -- Sklarek coordinated the design and construction of the Park Center Commercial Complex in San Jose, CA .

1972-1973 -- Sklarek coordinated the design and construction of the San Bernardino, City Hall in San Bernardino, CA.

1973 -- Sklarek coordinated the design and construction of Commons-Courthouse Center in Columbus, IN.

1973-1978 -- Served as faculty member in the UCLA School of Architecture and Urban Planning

1976 -- Sklarek coordinated the design and construction of the U. S. Embassy in Tokyo, Japan.

1978 -- Sklarek coordinated the design and construction of Pacific Design Center in Los Angeles, CA.

1980 -- First African American woman fellow of the AIA

1980-1985 -- Worked as VP and project manager at Welton Becket & Associates in Santa Monica, CA

1984 -- Sklarek working with Welton Becket Associates coordinated the design and construction of Terminal One at the Los Angeles International Airport, Los Angeles, CA. Rolf Sklarek died in February.

1985 -- Sklarek along with Margot Siegal and Katherine Diamond formed their own firm, Siegel- Sklarek-Diamond. Sklarek married Dr. Cornelius Welch.

1989 -- Left the Siegel-Sklarek-Diamond and joined The Jerde Partnership, in Venice, CA, as the principal project manager.

1989-1992 -- Sklarek coordinated the design and construction of the Mall of America in Minneapolis, MN.

1992 -- Retired from The Jerde Partnership

2003-2007 -- Served as commissioner on the California State Board of Architectural Examiners

2008 -- Awarded American Institute of Architects' Whitney M. Young Jr. Award

2012 -- Norma Merrick Sklarek died in the Pacific Palisades, California at the age of 85.
Provenance:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of David Merrick Fairweather and Yvonne Goff
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Topic:
Architecture  Search this
Photographs  Search this
Business  Search this
Design  Search this
Women  Search this
Japan -- Tokyo  Search this
Entrepreneurship  Search this
African diaspora  Search this
Education  Search this
Gender  Search this
Identity  Search this
Genre/Form:
Correspondence
Citation:
Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
Identifier:
NMAAHC.A2018.23
See more items in:
Norma Merrick Sklarek Archival Collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_collection:sova-nmaahc-a2018-23
Online Media:

Oral history interview with Hildegard Bachert, 1993 February 25-26

Interviewee:
Bachert, Hildegard, 1921-2019  Search this
Bachert, Hildegard, 1921-2019  Search this
Interviewer:
Long, Rose-Carol Washton  Search this
Subject:
Galerie St. Etienne  Search this
Type:
Sound recordings
Interviews
Topic:
Women art dealers  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)11878
(DSI-AAA_SIRISBib)215323
AAA_collcode_bacher93
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215323
Online Media:

Oral history interview with Alice Aycock, 2009 February 2-March 25

Interviewee:
Aycock, Alice, 1946-  Search this
Aycock, Alice, 1946-  Search this
Interviewer:
Berman, Avis, 1949-  Search this
Subject:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Women artists  Search this
Women sculptors  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)15676
(DSI-AAA_SIRISBib)282734
AAA_collcode_aycock09
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_282734
Online Media:

Peggy Bacon papers

Creator:
Bacon, Peggy, 1895-1987  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
Kraushaar Galleries  Search this
Alder, Jules  Search this
Bacon, Charles Roswell, 1868-1913  Search this
Brook, Alexander, 1898-1980  Search this
Bunner, Rudolph Francis  Search this
Lay, Charles Downing, 1877-1956  Search this
Remsen, Ira, 1846-1927  Search this
Schmidt, Katherine, 1898-1978  Search this
Varian, Dorothy, 1895-1985  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Date:
1893-1973
bulk 1900-1936
Summary:
The papers of printmaker, illustrator, caricaturist, and writer Peggy Bacon measure 3.6 linear feet and date from 1893 to 1973, with the bulk of materials dating from 1900 to 1936. Much of the collection consists of family correspondence, although writings, photographs, artwork, and personal business records from Bacon's late career are also found.
Scope and Content Note:
The papers of printmaker, illustrator, caricaturist, and writer Peggy Bacon measure 3.6 linear feet and date from 1893 to 1973, with the bulk of materials dating from 1900 to 1936. Much of the collection consists of family correspondence, although writings, photographs, artwork, and personal business records from Bacon's late career are also found.

Correspondence is found between Peggy Bacon and her parents, Elizabeth and Charles Roswell Bacon. Letters to her mother describe in detail her life as an art student and artist at the Art Students League; summer schools in Port Jefferson, Long Island and Provincetown, Massachusetts; the Woodstock artists' colony; and her early years in New York City. Letters from her husband, Alexander Brook, to her mother are also present. Letters to Bacon include letters from her early teacher Jonas Lie, and from friends and fellow artists Catherine Wiley, Dorothy Varian, Katherine Schmidt, Anne Rector Duffy, and others. Her parents' extensive correspondence includes letters to her father from the artists Jules Adler, Rudolph Bunner, Ira Remsen, and Charles Downing Lay.

The collection also contains Peggy Bacon's school reports and writing assignments, a marriage certificate, scattered poetry manuscripts and notes by Peggy Bacon, and fiction manuscripts by Charles Roswell Bacon. Personal business records date from the 1960s and 1970s and include publisher's royalty statements, gallery sales statements, and scattered business correspondence with Antoinette Kraushaar and other staff at the Kraushaar Galleries. Photographs depict Bacon and her family, friends, homes, and works of art. Artwork includes several original drawings and sketches by Bacon, as well as artwork by Alexander Brook, Charles Roswell Bacon, and others.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1893-1913 (Box 1; 2 folders)

Series 2: Correspondence, 1893-1939, 1969-1972 (Boxes 1-3; 3 linear feet)

Series 3: Personal Business Records, 1897-1934, 1963-1972 (Box 4; 0.2 linear feet)

Series 4: Writings, 1905-1920 (Boxes 4-5; 0.3 linear feet)

Series 5: Printed Material, 1905-1935, 1973 (Box 5; 3 folders)

Series 6: Photographs, circa 1900-1963 (Box 5, OV 6; 4 folders)

Series 7: Artwork, undated (Box 5, OVs 6-8; 9 folders)
Biographical Note:
Peggy Bacon was born in 1895 in Ridgefield, Connecticut, and grew up an only child after the death of two younger brothers in infancy. Her parents, Charles Roswell Bacon and Elizabeth Chase Bacon, had met at the Art Students League, where her father had studied with Robert Henri. Her father pursued a career in painting and writing until his suicide in 1913, and her mother painted miniatures.

A child of artists, Bacon began to draw at a very early age, and by age ten she was already earning money for her illustrations, drawings of literary characters made for dinner place cards. She did not attend school until 1909, when her parents sent her to a boarding school in Summit, New Jersey. She began her formal art training shortly after her father's death, enrolling in the School of Applied Arts for Women at the end of 1913. In the summer of 1914, she attended Jonas Lie's landscape class in Port Jefferson, Long Island, and continued private studies with him in New York City. Lie gave Bacon her first solo exhibition in 1915. From 1915 until 1920, she studied at the Art Students League under John Sloan, Kenneth Hayes Miller, George Bellows, Mahroni Young, and others. In the summers, she took classes first in Provincetown, Massachusetts, and then in Woodstock, New York, where she studied with Andrew Dasburg.

Bacon's circle was formed at the Art Students League, and the League's summer school in Woodstock. She met her husband, Alexander Brook, in Woodstock, and they were married in 1920. Both were active in the Woodstock Artists Association. Other artists in their close-knit group included Dorothea Schwarz (Greenbaum), Anne Rector (Duffy), Betty Burroughs (Woodhouse), Katherine Schmidt (Kuniyoshi Shubert), Yasuo Kuniyoshi, Molly Luce, Dorothy Varian, Edmund Duffy, Dick Dyer, David Morrison, and Andrew Dasburg. Many from this group were involved in the short-lived satirical magazine at the League called Bad News, published in 1918 with several of Bacon's earliest satirical drawings. Her first book, The True Philosopher and Other Cat Tales, was published in 1919. Brook and Bacon traveled to England in 1920, where their daughter Belinda was born. A son, Sandy, was born in Woodstock in 1922. In the early 1920s, Brook worked with Juliana Force at the Whitney Studio Club, and they were involved in the cultural life that sprang up around the gallery, which featured up-and-coming artists. For many years, Bacon and her family split their time between New York and Woodstock, and later summered in Cross River, NY. After divorcing Brook in 1940, Bacon spent summers in Ogunquit, Maine.

Though she initially thought of herself as a painter, she built her reputation on her drawings and prints, which often satirized the people around her in their natural habitats - artists in life classes, at dances, and in social situations, or a throng of people in a museum, on a city sidewalk, or a ship's deck. She became sought after for her illustrations and witty, topical verse in magazines such as Dial, Delineator, The New Yorker, New Republic, Fortune, and Vanity Fair. She helped to establish the American Print Makers, an artists' organization based in the Downtown Gallery which sought greater exhibition opportunities for printmakers. Bacon illustrated over sixty books, nineteen of which she also wrote, between 1919 and 1966, including many children's books and a successful mystery novel called The Inward Eye (1952). In 1933 she received a Guggenheim Fellowship and used it to complete a collection of caricatures of art world figures called Off With Their Heads (1934), the success of which prompted a spate of commissions for caricatures. Bacon stopped making caricatures in 1935, but they include some of her best-known work.

Bacon exhibited frequently, in New York and in major museum exhibitions nationally, showing her prints, drawings, pastels, and watercolors. She had over thirty solo exhibitions at such venues as Montross Gallery, Alfred Stieglitz's Intimate Gallery, and the Downtown Gallery, and was represented by Rehn Galleries and later Kraushaar Galleries. Bacon also taught extensively in the 1930s and 1940s, at the Fieldston School, Art Students League, Hunter College, Temple University, the Corcoran Gallery, and other places. In the 1950s, she returned to painting. She made her last prints in 1955. In the early 1970s, Bacon's eyesight failed, and she eventually went to live with her son in Cape Porpoise, Maine. She died in 1987.
Related Material:
Among the other resources relating to Peggy Bacon in the Archives of American Art is an oral history interview with Bacon, May 8, 1973; and letters to Bernice and Harry Lurie from Peggy Bacon, 1969-1977. Additional Peggy Bacon papers are available at Syracuse University.
Provenance:
The collection was donated by Peggy Bacon in 1973 and Kraushaar Galleries in 2008.
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:
Printmakers -- New York (State) -- Woodstock  Search this
Illustrators -- New York (State) -- Woodstock  Search this
Caricaturists -- New York (State) -- Woodstock  Search this
Authors -- New York (State) -- Woodstock  Search this
Topic:
Art -- Study and teaching  Search this
Works of art  Search this
Women artists  Search this
Women authors  Search this
Women printmakers  Search this
Genre/Form:
Photographs
Drawings
Citation:
Peggy Bacon papers, 1893-1972. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bacopegg
See more items in:
Peggy Bacon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bacopegg
Online Media:

Oral history interview with Hildegard Bachert

Interviewee:
Bachert, Hildegard  Search this
Interviewer:
Long, Rose-Carol Washton  Search this
Names:
Galerie St. Etienne  Search this
Extent:
2 Items (sound cassettes (2 hr., 4 min.), analog.)
42 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1993 February 25-26
Scope and Contents:
An interview with Hildegard Bachert conducted 1993 February 25-26, by Rose-Carol Washton Long, for the Archives of American Art.
Bachert speaks of growing up in Mannheim, Germany; reminices about violence against Jews and surviving the Crystal Night; leaving Germany for the United States to escape Nazi Germany in 1936; arriving in New York CIty with her older sister and attending high school; becoming a Zionist; frequenting the museums and cultural instituations of New York; working as a secretary for Karl Nierendorf Gallery; taking a job with Otto Kallir and working with him for a majority of her career; attending Hunter College; taking an interest in Native American and Aboriginal art; decribes how Kallir moved a good amount of his art collection out of Austria prior to World War II. She describe various artists in Kallir's collection and exhibitions such as Kokoschka, Corinth, Schiele, Kollwitz, Moderson-Becker; meeting Anna Mary Roberson Moses also known as Grandma Moses and representing her artwork; Kallir's interest in American and Russian folk art; the personality of Kallir; co-directing Galerie St. Etienne with Jane Kallir.
Biographical / Historical:
Hildegard Bachert (1921-2019) was an art dealer at Galerie St. Etienne from New York, New York.
General:
Originally recorded on 2 sound cassettes. Reformatted in 2010 as 3 digital wav files. Duration is 2 hr., 4 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.
Restrictions:
The transcript and recording are open for research. Contact Reference Services for more information.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Gallery owners -- New York (State) -- New York  Search this
Topic:
Women art dealers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.bacher93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bacher93

Oral history interview with Alice Aycock

Interviewee:
Aycock, Alice  Search this
Interviewer:
Berman, Avis  Search this
Creator:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Names:
United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this
Extent:
1 Item (data compact disc (5 hr., 18 min.), digital, 4 WMA files)
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
2009 February 2-March 25
Scope and Contents:
An interview of Alice Aycock conducted 2009 February 4-March 25, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Aycock's home, in New York, New York.
Biographical / Historical:
Alice Aycock (1946- ) is a sculptor in New York, New York. Aycock was educated at Hunter College and teaches at School of Visual Arts.
General:
Originally recorded on 1 data compact disc. Reformatted in 2010 as 4 digital wav files. Duration is 5 hr., 18 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.
Topic:
Sculptors -- New York (State) -- New York -- Interviews  Search this
Women artists  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.aycock09
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-aycock09

David Burpee and WAVES Posing with Sweet Peas at Hunter College, New York

Collection Creator:
W. Atlee Burpee Company  Search this
W. Atlee Burpee Co.  Search this
Burpee, W. Atlee (Washington Atlee), 1858-1915  Search this
Burpee, David, 1893-1980  Search this
Wm. Henry Maule (Firm)  Search this
James Vick's Sons (Rochester, N.Y.).  Search this
Extent:
1 File
Container:
Box 416, Folder 52
Type:
Archival materials
Files
Date:
1945
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by the Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records
See more items in:
W. Atlee Burpee & Company Records - Accretion 2
W. Atlee Burpee & Company Records - Accretion 2 / Series 5: Photographic and A/V Material / 5.1: Images / Publicity and Public Relations
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-bur2-ref3390

Modify Your Search







or


Narrow By