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Norman B. Colp papers

Creator:
Colp, Norman  Search this
Extent:
4 Linear feet (Box 1-4)
Type:
Collection descriptions
Archival materials
Video recordings
Sound recordings
Interviews
Date:
1973-2005
Summary:
The papers of conceptual artist and curator Norman B. Colp measure 4 linear feet and date between 1973 and 2005. The papers shed light on Colp's career through biographical material; correspondence with artists, museums, galleries, and municipalities; project files related to works of art and exhibitions curated by Colp; photographs and slides, printed material, and some audiovisual material.
Scope and Contents:
The papers of conceptual artist and curator Norman B. Colp measure 4 linear feet and date between 1973 and 2005. The papers shed light on Colp's career through biographical material, project files, personal business records, and printed material. Biographical material includes correspondence with artists, museums, galleries, and municipalities, two recorded interviews, biographical sketches, and a note from Colp's mother; project files relate to works of art and exhibitions curated by Colp; personal business records contain some inventories, expenses, sales and trade files as well as the records of Colp's various donations to archives, museums, and libraries between 1983 and 2004; printed material includes postcards, catalogs, and invitations from group and solo exhibitions; reviews of Colp's artwork and his curated shows; and an artist-made Xerox calendar.
Arrangement:
This series is arranged as 4 series.

Series 1: Biographical Material (Box 1; 10 folders)

Series 2: Project Files (Box 1-2; 1 linear feet)

Series 3: Personal Business Records (Box 2; .8 linear feet)

Series 4: Printed Material (Box 2-4; 2 linear feet)
Biographical / Historical:
Norman B. Colp was a conceptual artist and curator from New York City. He received his BA in art from Queens College in 1967, and took classes at the Pratt Institute and Parsons School of Design. Colp's artistic projects include 63 Artists' Objects (1974) and 24 Small Scale Art Thefts (1975), in which he "borrowed" door stops from 24 galleries and museums around the United States; both projects were exhibited individually as solo exhibitions. Colp was commissioned by the New York MTA in 1991 to install Comuter's Lament or a Close Shave, a poem and one photograph on nine porcelain tiles found in the Times Square subway. Colp's solo exhibitions include those held at Hundred Acres Gallery in New York, Victoria and Albert Museum, London England, and the College and Charleston; and was represented in group exhibitions at the Alternative Center for International Arts, Franklin Furnace, Artworks, Boca Rotan Museum of Art, among others. Colp's curated exhibits include those held at the Center for Book Arts, Georgia State University Art Gallery, and White Plains Public Library. His work is found in permanent collections at the Corcoran Gallery of Art, International Center of Photography, New York Public Library and many more.
Provenance:
The collection was donated by Norman B. Colp in 1993 and 2005.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
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.
Topic:
Conceptual art  Search this
Genre/Form:
Video recordings
Sound recordings
Interviews
Citation:
Norman Colp papers, 1973-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.colpnorm
See more items in:
Norman B. Colp papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-colpnorm

Norman B. Colp papers, 1973-2005

Creator:
Colp, Norman, 1944-  Search this
Type:
Video recordings
Sound recordings
Interviews
Topic:
Conceptual art  Search this
Record number:
(DSI-AAA_CollID)6441
(DSI-AAA_SIRISBib)215581
AAA_collcode_colpnorm
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215581

Donation, International Center of Photography

Collection Creator:
Colp, Norman  Search this
Container:
Box 2, Folder 7
Type:
Archival materials
Date:
1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
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:
Norman Colp papers, 1973-2005. Archives of American Art, Smithsonian Institution.
See more items in:
Norman B. Colp papers
Norman B. Colp papers / Series 3: Personal Business Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-colpnorm-ref48

Donation, International Center of Photography

Collection Creator:
Colp, Norman  Search this
Container:
Box 2, Folder 49
Type:
Archival materials
Date:
2000
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
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:
Norman Colp papers, 1973-2005. Archives of American Art, Smithsonian Institution.
See more items in:
Norman B. Colp papers
Norman B. Colp papers / Series 3: Personal Business Records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-colpnorm-ref90

Toba Tucker photographs

Creator:
Tucker, Toba  Search this
Extent:
23 Photographic prints (Cibachrome)
Culture:
K'apovi (Santa Clara Pueblo)  Search this
Diné (Navajo)  Search this
Acoma Pueblo  Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Cibachrome (tm)
Photographs
Place:
New Mexico
Arizona
Date:
1981, 1995-1997
Summary:
This collection contains 23 prints that were shot by photographer Toba Tucker of Diné (Navajo) portraits and landscapes from 1981 and Pueblo portraits from 1995-1997.
Scope and Contents:
This collection contains 23 prints by photographer, Toba Tucker. Of these prints, 21 were taken during the summer of 1981 in the Joint Use Area (Jeddito Island, White Cone, and Teesto) on the Navajo Reservation. These photographs were made with a 6x6-cm (2 ¼-sq.) SLR, 120-mm lens, and Koda-color II color-print film, and were taken in the local Chapter Houses using only natural lighting. Tucker primarily works in black-and-white but chose to process and print these photographs in color resulting in her first experiences with colored work.

Of these prints, two portraits were taken from 1995 to 1997 during a two-and-a-half-year project funded by the Horace W. Goldsmith Foundation which allowed Tucker to photograph traditional and contemporary Pueblo artists in New Mexico and Arizona. During this project Tucker explored the relationships between traditional, centuries-old techniques and the emerging vision of contemporary artists. This project led to the 1998 publication of Pueblo Artists: Portraits by the Museum of the New Mexico Press.
Arrangement note:
Prints: organized in boxes; arranged by print number.
Biographical/Historical note:
Toba Pato Tucker is a self-taught American professional photographer from New York City. Tucker started working in photography in the 1970s through teachings from photographers, Harold Feinstein and Toby Old. With their assistance she became proficient in developing negatives and printing in black and white prints. In 1980, she received a fellowship from the National Endowment for the Arts (NEA) which allowed her to live on the Navajo reservation and work with the Navajo-Hopi Land Dispute Commission of the Navajo Nation. This began her quest of photographing Native Americans. In addition to the grant from the NEA, she has been awarded many other grants, is published in several magazines and publications, has works in various museum collections, and has taught at New York's International Center of Photography. Tucker currently resides in Santa Fe, New Mexico.
Provenance:
P28392-P28393- Gift of Robert Menschel, 2000; P28414- Gift of Dr. Roland Force, 1986; P28394-P28414- Gift of Toba Tucker, 1983.
Restrictions:
Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Genre/Form:
Photographic prints
Cibachrome (TM)
Photographs
Citation:
Identification of specific item; Date (if known); Toba Tucker Photographs, Collection NMAI.AC.030; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.030
See more items in:
Toba Tucker photographs
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-030
Online Media:

The sacred & secular : a decade of aerial photography / Marilyn Bridges

Title:
Sacred and secular
Author:
Bridges, Marilyn  Search this
International Center of Photography  Search this
Subject:
Bridges, Marilyn  Search this
Physical description:
63 pages : chiefly illustrations ; 31 cm
Type:
Exhibitions
Exhibition catalogs
Exhibition, pictorial works
Date:
1990
Topic:
Aerial photography  Search this
Landscape photography  Search this
Earthworks (Archaeology)  Search this
Antiquities  Search this
Call number:
TR647.B847 I6 1990
TR647.B847I6 1990
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1070922

#APeoplesJourney - A Nation's Story

Creator:
National Museum of African American History and Culture  Search this
Type:
Youtube videos
Uploaded:
2017-09-28T13:00:21Z
Topic:
African Americans  Search this
Youtube Category:
Education  Search this
See more by:
WatchNMAAHC
YouTube Channel:
WatchNMAAHC
Data Source:
National Museum of African American History and Culture
EDAN-URL:
edanmdm:yt_wUuSYpW4ZIo

Artist Respond: A Symposium - Morning Session

Creator:
Smithsonian American Art Museum  Search this
Type:
Youtube videos
Uploaded:
2019-03-15T16:52:30Z
Topic:
Art, American  Search this
Youtube Category:
Education  Search this
See more by:
americanartmuseum
YouTube Channel:
americanartmuseum
Data Source:
Smithsonian American Art Museum
EDAN-URL:
edanmdm:yt_Q9oXpk1MkNM

Oral history interview with Bill Jacobson, 2017 March 25 and 26

Interviewee:
Jacobson, Bill, 1955-  Search this
Interviewer:
Fialho, Alex, 1989-  Search this
Subject:
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Type:
Interviews
Sound recordings
Topic:
Photographers -- New York (State) -- New York -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17455
(DSI-AAA_SIRISBib)387721
AAA_collcode_jacobs17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_387721
Online Media:

Oral history interview with Bill Jacobson

Interviewee:
Jacobson, Bill, 1955-  Search this
Interviewer:
Fialho, Alex, 1989-  Search this
Names:
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Extent:
4 Items (sound files (4 hrs., 47 min.), digital, wav)
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 March 25 and 26
Scope and Contents:
An interview with Bill Jacobson conducted 2017 March 25 and 26, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Jacobson's home and studio in Brooklyn, New York.
Jacobson speaks of his childhood in Norwich, Connecticut; becoming serious about photography as an adolescent; early understandings of his own queerness; attending Brown University and taking photography classes at RISD; spending junior year of college at the San Francisco Art Institute; working for the "Seattle Gay News" after graduating; the influence of transcendental meditation on his early photographs; moving to New York in 1982; early discussions and experiences of HIV/AIDS in San Francisco and New York; financially supporting himself by taking commercial photographs for art galleries; collecting vernacular photographs from flea markets; deciding to focus on his own photography in 1989; the development of his out-of-focus aesthetic; shooting and printing his series Interim Landscapes, Interim Portraits, Interim Figures, and Interim Couples; the general misunderstanding of his work's relationship to the AIDS crisis; the art world's great loss of life to HIV/AIDS; participating in AIDS activism; living in the East Village in the 1980s; his relationship with Julie Saul Gallery; exposure to Minimalism through his commercial photography work; his shift to darker prints in series Song of Sentient Beings and the Thought Series; contemporary photographers whose work he admires; his shift to color photography; the technical aspects of his photographic and printing practice; his shift to an in-focus aesthetic; moving to Brooklyn in the mid-2000s; his interest in photographing the built and constructed world for A Series of Human Decisions; developing his series Place Series, 945 Madison Avenue, Lines in My Eyes, and figure, ground. The importance of travel to his artistic practice; the shift in his audience in response to the shift in his aesthetic; teaching at the International Center of Photography; showing two works in the "Art AIDS America" exhibition; the need for greater historical consciousness among younger artists; and his hope for a more nuanced understanding of his artistic legacy. Jacobson also recalls Bert Beaver, Harry Callahan, Aaron Siskind, Ray Metzker, Kermit Champa, Charles LeDray, John Collier, Larry Sultan, Jeffrey Lunger, Jeffrey Siegal, Bill T. Jones, Arnie Zane, Keith Haring, Marian Goodman, Ellsworth Kelly, Jack Shear, Julian Schnabel, Lucas Samaras, Christian Siekmeier, Richard Anderson, Donna De Salvo, Hugh Steers, Anselm Kiefers, Julie Saul, Richmond Burton, Agnes Martin, Robert Ryman, Kate Shepherd, A.L. Steiner, Robert Mapplethorpe, Peter Hujar, Rock Hushka, Tom Sokolowski, Robert Klein, Nayland Blake, David Deitcher, Marlon Riggs, Joe Fawbush, and others.
Biographical / Historical:
Bill Jacobson (1955- ) is a photographer in New York, New York. Alex Fialho (1989- ) is a curator and arts writer and works as Programs Director for Visual AIDS in New York, New York.
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:
Photographers -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.jacobs17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jacobs17

International Center of Photography (Willard Straight house)

Collection Creator:
Wagstaff, Samuel J.  Search this
Container:
Box 7, Folder 11
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Samuel J. Wagstaff papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Samuel J. Wagstaff papers
Samuel J. Wagstaff papers / Series 5: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-wagssamu-ref245

Harlem on My Mind exhibition records

Creator:
Schoener, Allon  Search this
Names:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Rangel, Charles B.  Search this
Van Ellison, Candace  Search this
Extent:
3 Linear feet
0.371 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Awards
Photographs
Sound recordings
Scrapbooks
Notes
Date:
1966-2007
Summary:
The Harlem on My Mind exhibition records measure 3.0 linear feet and 0.371 GB and date from 1966-2007. The records contain exhibition and book files, correspondence, research material, printed and digital material and photographs from the Metropolitan Museum of Art exhibition. Also included is material documenting additional exhibitions, conferences and events relating to the original exhibition.
Scope and Content Note:
The "Harlem on My Mind" exhibition records measure 3.0 linear feet and 0.371 GB and date from 1966-2007. The records contain exhibition and book files, correspondence, research material, printed and digital material and photographs from the Metropolitan Museum of Art exhibition. Also included is material documenting additional exhibitions, conferences and events relating to the original exhibition.

Correspondence, 1967-2007, concerns all aspects of production and coordination of the Metropolitan Museum of Art exhibition, the public's response to the controversial Candice Van Ellison catalog introduction, letters of support, the 10th Anniversary celebration, and a letter from U.S. Representative Charles B. Rangel.

Exhibition files for the original "Harlem on My Mind" exhibition at the Metropolitan Museum of Art, 1968-1969, include awards, budgets, construction and installation notes, floor plans, an installation log, invoices, notes, photographs, public relations, schedules, research, statistics, printed material and audio relating to the exhibition.

"Harlem on My Mind" exhibition re-creation files from 1978-2007 contain correspondence, project outline, and exhibition files including Harlem: USA/International Traveling Exhibition and Cultural Festival, 1985-1987; Columbia University Exhibition, 2006-2007; and I. P. Stanback Museum Exhibition, 2006-2007.

Harlem on My Mind book files, 1967-2007, consist of correspondence, invoices, outline, permissions, royalty statements, notes and writings.

Conferences and events, 1978-2007, include: "Harlem: The Last Ten Years," International Center of Photography, 1978-1979; Post Modernism Conference, Brooklyn Academy of Music; "Global Cities," 1985-1992, Schomburg Conference, 1993-1999; "A Walk Through Harlem," Schomburg Center, 1999; "The (Un)making of the Black Cultural Mecca," the New School, 2003; "Harlem Displaced" and "Harlem in Our Eyes," Steven L. Newman Real Estate Institute, 1999-2006; and "Harlem Then and Now," Schomburg Center, 2007.

Printed material, 1968-2007, includes newspaper and magazine clippings, three editions of Harlem on My Mind: Cultural Capital of Black America 1900-1968 (1979, 1995 and 2007), and the book jacket for the 1968 edition.
Arrangement:
Most material is arranged chornologically unless noted otherwise in the series description.

The Harlem on My Mind exhibition records are organized into 6 series.

Series 1: Correspondence, 1967-2007 (Box 1; 0.4 linear feet)

Series 2: Exhibition Files, -- Harlem on My Mind -- , Metropolitan Museum of Art, 1967-1969 (Box 1; 0.9 linear feet, ER01; 0.371 GB)

Series 3: -- Harlem on My Mind -- Re-creation, 1978-2007 (Box 1-2; 0.3 linear feet)

Series 4: -- Harlem on My Mind -- Book, 1967-2007 (Box 2; 0.3 linear feet)

Series 5: Conferences and Events, 1978-2007 (Box 2-3; 0.8 linear feet)

Series 6: Printed Material, 1968-2007 (Box 3; 0.3 linear feet)
Biographical Note:
Allon Schoener (b.1926) is a writer, cultural historian, consultant, and organizer of exhibitions that focus on topics such as African Americans, Italian Americans, Jewish Americans, and the history of the Lower East Side. His best known exhibition was the highly controversial show "Harlem on My Mind: Cultural Capital of Black America." A graduate of Yale University, he currently lives in Los Angeles.

"Harlem on My Mind: Cultural Capital of Black America 1900-1968" was a 1969 exhibition at the Metropolitan Museum of Art organized by Allon Schoener. The exhibition documented life in Harlem through the use of photographs, film and audio recordings. It was created under the directorship of Thomas Hoving and contributed to the exhibition model commonly known as the "blockbuster" show.

At the time, the exhibition was much reviled, having received harsh criticism from critics, politicians, and the public alike. The initial spark was an essay in the accompanying book by 17-year-old Harlem high school student Candice Van Ellison. The essay contained prejudicial remarks about members of the Jewish, Irish and Puerto Rican communities. The book was quickly removed from the Museum and pulled from bookshelves by the publisher.

Additional criticism focused on several key issues, including the exhibition's multimedia platform; the lack of paintings and sculptures, particularly by African-American artists; and a thematic presentation that used documentary techniques that focused on sociological and cultural issues. Such criticism was compounded by the Harlem Cultural Council's withdrawal of support.

Schoener wrote that the objective of the exhibition was to "demonstrate that the black community in Harlem is a major cultural environment with enormous strength and potential? that this community has made major contributions to the mainstream of American culture in music, theater and literature." The exhibition documented Harlem from its beginnings in the early 20th century as a prosperous white neighborhood, through the influx of southern African-Americans, up to the civil rights movements of the late 1960s.

After the original exhibition ended, Schoener spent the next several decades working intermittently on re-creations of the exhibition, some of which failed to see fruition. Others succeeded, culminating as shows at Columbia University and the I. P. Stanback Museum. Schoener participated in numerous panel discussions, events and conferences, including the Schomburg Center and Brooklyn Academy of Music (BAM).

His book, Harlem on My Mind: Cultural Capital of Black America, was reissued after a prolonged struggle to obtain the rights from its original publisher. Editions were published in 1979, 1995 and 2007, with forewords by Henry Louis Gates, Jr. and U.S. Congressman Charles B. Rangel.
Provenance:
The papers were donated to the Archives of American Art in 2009 by Allon Schoener.
Restrictions:
Use of original material requires an appointment.
Rights:
The Harlem on My Mind exhibition records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Authors  Search this
Topic:
Exhibitions  Search this
Genre/Form:
Awards
Photographs
Sound recordings
Scrapbooks
Notes
Citation:
Harlem on My Mind exhibition records, 1966-2007. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.schoallo
See more items in:
Harlem on My Mind exhibition records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-schoallo

Naomi Savage Papers on Man Ray

Creator:
Savage, Naomi, 1927-2005  Search this
Names:
Galerie Anderson-Mayer  Search this
La Boetie, Inc.  Search this
Philadelphia Museum of Art  Search this
Prakapas Gallery  Search this
Ronny Van de Velde (Gallery : Antwerp, Belgium)  Search this
Serpentine Gallery  Search this
Vered Gallery  Search this
Zabriskie Gallery  Search this
Duchamp, Alexina, 1906-1995  Search this
Duchamp, Marcel, 1887-1968 -- Photographs  Search this
Greenbaum, Theodora S.  Search this
Hunter, Sam, 1923-  Search this
Kimmel, Roberta  Search this
Man Ray, Juliet, d. 1991  Search this
Noguchi, Isamu, 1904-1988  Search this
Ray, Man, 1890-1976  Search this
Savage, Naomi, 1927-2005  Search this
Serger, Helen  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1913-2005
Summary:
The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.
Scope and Content Note:
The Naomi Savage papers on Man Ray measure 1.6 linear feet and date from 1913-2005. The collection provides an overview of Man Ray's career as a photographer and painter through correspondence, exhibition files, writings, notes, artwork, printed material, and photographs.

Correspondence primarily consists of incoming letters from art historians, students, publishers, museums, and galleries interested in obtaining biographical information, scheduling exhibitions, or seeking permission to reproduce artwork. Correspondents include Theodora Greenbaum, Sam Hunter, and Roberta Kimmel. Also found is a letter to Man Ray from Isamu Noguchi.

Exhibition files document some of Man Ray's solo and group exhibitions held at museums and galleries in the United States and abroad, including Galerie Anderson Mayer, the Philadelphia Museum of Art, Prakapas Gallery, Helen Serger, La Boetie, Inc., Ronny Van De Velde Gallery, Serpentine Gallery, Vered Gallery, and Zabriskie Gallery.

Writings and notes include typescripts of unpublished pieces on Man Ray and Surrealist photography and on Juliet Man Ray, miscellaneous writings, and Naomi Savage's list of Man Ray published work. Artwork consists of an artist's proof of a print by Paul Levitt.

Printed material houses news and periodical clippings on Man Ray and Juliet Man Ray, newsletters, reproductions of artwork, and miscellaneous printed material. Clippings provide documentation on Man Ray's early commercial photography for advertisements and fashion magazines as well as his experimental photographic work.

Photographs include portrait photographs of Man Ray and Juliet Man Ray. There are photographs of Man Ray and Juliet with family, friends, and colleagues, including photographs of Marcel Duchamp and Teeny Duchamp.
Arrangement:
The collection is arranged as 6 series:

Series 1: Naomi Savage Correspondence, 1939-1995 (Box 1; 0.1 linear feet)

Series 2: Man Ray Exhibition Files, 1941-1997 (Box 1, OV 4; 0.8 linear feet)

Series 3: Writings and Notes, 1974-1998 (Box 1, OV 4; 0.1 linear feet)

Series 4: Artwork, circa 1963 (Box 1; 1 folder)

Series 5: Printed Material, circa 1913-1998 (Boxes 1, 3; 0.2 linear feet)

Series 6: Photographs, 1913-1991 (Boxes 1-3; 0.4 linear feet)
Biographical Note:
Photographer Naomi Siegler Savage (1927-2007) lived and worked in Princeton, New Jersey. While a teenager, Savage attended a photography class taught by Berenice Abbott and pursued this interest at Bennington College in Vermont. In California, Savage apprenticed with her uncle Man Ray, who was a close friend as well as mentor to his niece.

Influenced by Man Ray's experimental techniques with film, Naomi Savage pioneered the use of the photographic metal plate which produced a three dimensional form with a metallic surface. One of her best-known photographic engravings is a magnesium mural for the Johnson Library and Museum in Austin, Texas, depicting the national elective offices held by President Johnson and the various Presidents under which he served. In later years, Savage continued to experiment with the photographic process by using digital cameras, color photocopiers, and computer imaging.

In 1952, Savage had her first exhibition at the Museum of Modern Art in New York. In addition to the Museum of Modern Art, Savage's work is also in the collections of the Art Institute of Chicago, the Fogg Museum at Harvard University, the International Center of Photography in New York, and the Museum of Fine Arts in Boston, Massachusetts.

Naomi Savage was married to the painter, sculptor, and architect, David Savage. Naomi Savage died in Princeton, New Jersey in 2007.

Man Ray (1890-1976) lived and worked in New York and Paris, France and was best known for his painting and photography.

Man Ray was born Emmanuel Radnitsky in Philadelphia, Pennsylvania in 1890. His family later moved to Brooklyn, New York. During this period, the family changed their name to Ray and Emmanuel shortened his first name to Man, gradually using Man Ray as his combined single name. Man Ray attended Boys High School from 1904-1908 where he developed an interest in painting. After high school, he worked as a commercial artist and technical illustrator in New York City while attending classes at the Art Students League, Ferrer School, and National Academy of Design.

Influenced by European artists, whose Modernist works were being shown at the 1913 Armory Show and Alfred Stieglitz's "292" Gallery, and other such venues, Man Ray began to incorporate elements of Cubism in his paintings and drawings. In 1915, Man Ray met Marcel Duchamp (1887-1968) and they formed a lifelong friendship and professional partnership. That same year, the Dada group, founded by a Tristan Tzara and other artists in Zurich, Switzerland also took root in New York; Man Ray, Marcel Duchamp and Francis Picabia were credited for starting the New York Dada movement.

By 1921, Man Ray moved to Paris and became part of the circle that formed the Dada group. He photographed many of the Dada poets and writers, including Louis Aragon, André Breton, and Paul Eluard. Man Ray's work for André Breton established his reputation as a portrait photographer of artists, writers, and other prominent individuals, including George Antheil, Salvador Dalí, James Joyce, Sinclair Lewis, Gertrude Stein, and Virginia Woolf. In that same period, Man Ray pioneered the photographic process of rayographs (named after him) and he also participated in the first Surrealist exhibition at the Galerie Pierre.

Man Ray moved to Los Angeles, California in 1940. There he met New York City-born Juliet Browner (1910-1991), a trained dancer and professional artists' model. They married in 1946 in a double wedding ceremony with their friends Max Ernst and Dorothea Tanning. In 1951, Man Ray and Juliet Man Ray returned to live in the Montparnasse section of Paris.

In addition to an autobiography, Self-Portrait, published in 1963, Man Ray wrote a number of monographs and articles on photography that included Electricité, a portfolio of ten gravure prints of rayographs commissioned by the Paris electric company, Compagnie Parisenne de Distribution d'Electricité, 1931.

Man Ray received an honorary Master of Fine Arts degree from Freemont University, Los Angeles, 1948 and the gold medal for photography at the Venice Photo Biennale, 1962. In 1967, Man Ray received an award from the Philadelphia Arts Festival honoring its native son for his accomplishments.

Man Ray died in Paris in 1976. Juliet Man Ray survived her husband and continued to live in Paris until her death in 1991.
Provenance:
The Naomi Savage papers were donated in 2007 by Lourie Savage Bates, Naomi Savage's daughter. Naomi Savage was Man Ray's niece.
Restrictions:
The collection is open for research. Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Naomi Savage papers on Man Ray are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- France -- Paris  Search this
Photography  Search this
Surrealism  Search this
Photographers -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Naomi Savage papers on Man Ray, 1913-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.savanaom
See more items in:
Naomi Savage Papers on Man Ray
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-savanaom

Cornell Capa

Artist:
Miriam Troop, 27 Apr 1917 - 19 Nov 2016  Search this
Sitter:
Cornell Capa, 10 Apr 1918 - 23 May 2008  Search this
Medium:
Graphite, colored pencil, crayon and charcoal on paper
Dimensions:
Sheet: 34.5 x 35cm (13 9/16 x 13 3/4")
Type:
Drawing
Date:
1999
Topic:
Costume\Dress Accessory\Eyeglasses  Search this
Artwork  Search this
Interior\Office  Search this
Cornell Capa: Male  Search this
Cornell Capa: Visual Arts\Artist\Photographer  Search this
Cornell Capa: Communications\Journalist\Editor  Search this
Cornell Capa: Visual Arts\Founder  Search this
Cornell Capa: Visual Arts\Administrator\Art Museum\Director  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of John G. Morris
Object number:
S/NPG.2001.98
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Exhibition:
20th Century Americans: 1960-2000
On View:
NPG, South Gallery 342
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4fe9dba33-70e3-4ee0-8716-0f8c6055075f
EDAN-URL:
edanmdm:npg_S_NPG.2001.98

Ezra Pound

Artist:
Alvin Langdon Coburn, 11 Jun 1882 - 23 Nov 1966  Search this
Sitter:
Ezra Loomis Pound, 30 Oct 1885 - 1 Nov 1972  Search this
Medium:
Vortograph
Dimensions:
21 x 15.9cm (8 1/4 x 6 1/4")
Type:
Photograph
Date:
1916
Topic:
Ezra Loomis Pound: Male  Search this
Ezra Loomis Pound: Literature\Writer\Poet  Search this
Ezra Loomis Pound: Communications\Translator  Search this
Ezra Loomis Pound: Literature\Writer\Letter writer  Search this
Ezra Loomis Pound: Literature\Editor\Book  Search this
Portrait  Search this
Credit Line:
Owner: International Center of Photography
Object number:
NY990201
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4b474e7d2-dd53-477d-85ee-8f33f79cfa1e
EDAN-URL:
edanmdm:npg_NY990201

Ernest Hemingway, Sun Valley, Idaho

Artist:
Robert Capa, 22 Oct 1913 - 25 May 1954  Search this
Sitter:
Ernest Miller Hemingway, 21 Jul 1899 - 2 Jul 1961  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 34.2 x 23.1cm (13 7/16 x 9 1/8")
Mat: 55.9 x 40.6cm (22 x 16")
Type:
Photograph
Date:
1940
Topic:
Weapon\Gun\Rifle  Search this
Ernest Miller Hemingway: Male  Search this
Ernest Miller Hemingway: Communications\Journalist\Reporter\Newspaper  Search this
Ernest Miller Hemingway: Literature\Writer\Novelist  Search this
Ernest Miller Hemingway: Sports and Recreation\Outdoorsman  Search this
Ernest Miller Hemingway: Communications\Journalist\Correspondent  Search this
Ernest Miller Hemingway: Nobel Prize  Search this
Ernest Miller Hemingway: Pulitzer Prize  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.85.88
Restrictions & Rights:
Usage conditions apply
Copyright:
© Robert Capa / International Center of Photography / Magnum Photos
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4c1a05553-ea10-43c0-8f3a-69f62c0706b7
EDAN-URL:
edanmdm:npg_NPG.85.88

Andrew Jackson

Attribution:
Daniel Adams, 1810 - 1885  Search this
Sitter:
Andrew Jackson, 15 Mar 1767 - 8 Jun 1845  Search this
Medium:
Daguerreotype photograph
Dimensions:
8.3cm x 7cm (3 1/4" x 2 3/4"), Accurate
Type:
Photograph
Date:
c. 1845
Topic:
Andrew Jackson: Male  Search this
Andrew Jackson: Law and Law Enforcement\Lawyer  Search this
Andrew Jackson: Military\Army\Officer\General  Search this
Andrew Jackson: Politics and Government\US Senator\Tennessee  Search this
Andrew Jackson: Politics and Government\President of US  Search this
Andrew Jackson: Politics and Government\US Congressman\Tennessee  Search this
Andrew Jackson: Law and Law Enforcement\Judge\Justice\State Supreme Court Justice\Tennessee  Search this
Andrew Jackson: Politics and Government\Governor\Florida  Search this
Andrew Jackson: Congressional Gold Medal  Search this
Portrait  Search this
Credit Line:
Owner: International Center of Photography
Object number:
NY900303
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm486b70f96-96dd-472d-aea3-6238ba4f8431
EDAN-URL:
edanmdm:npg_NY900303

Martin Luther King, Jr., wife Coretta Scott King, and their daughter Yolanda

Artist:
Dan Weiner, 1919 - 1959  Search this
Sitter:
Martin Luther King, Jr., 15 Jan 1929 - 4 Apr 1968  Search this
Coretta Scott King, 27 Apr 1927 - 30 Jan 2006  Search this
Yolanda Denise King, 17 Nov 1955 - 15 May 2007  Search this
Medium:
Gelatin silver print
Dimensions:
Image/Sheet: 27.7 x 35.5cm (10 7/8 x 14")
Mat: 55.9 x 71.1cm (22 x 28")
Type:
Photograph
Place:
United States\Alabama\Montgomery\Montgomery
Date:
1956
Topic:
Costume\Jewelry\Earring  Search this
Costume\Jewelry\Necklace\Pearl  Search this
Costume\Headgear\Hat\Bonnet  Search this
Costume\Headgear\Veil  Search this
Costume\Dress Accessory\Flower\Corsage  Search this
Exterior\Cityscape  Search this
Costume\Dress Accessory\Feather  Search this
Coretta Scott King: Female  Search this
Coretta Scott King: Society and Social Change\Reformer\Activist\Civil rights activist  Search this
Coretta Scott King: Congressional Gold Medal  Search this
Yolanda Denise King: Female  Search this
Yolanda Denise King: Literature\Writer  Search this
Yolanda Denise King: Performing Arts\Performer\Actor  Search this
Yolanda Denise King: Society and Social Change\Reformer\Activist\Civil rights activist  Search this
Yolanda Denise King: Literature\Writer\Playwright  Search this
Martin Luther King, Jr.: Male  Search this
Martin Luther King, Jr.: Society and Social Change\Reformer\Activist\Civil rights activist\Civil rights leader  Search this
Martin Luther King, Jr.: Religion and Spirituality\Clergy\Minister  Search this
Martin Luther King, Jr.: Nobel Prize  Search this
Martin Luther King, Jr.: Presidential Medal of Freedom  Search this
Martin Luther King, Jr.: Congressional Gold Medal  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution © Sandra Weiner
Object number:
NPG.94.253
Restrictions & Rights:
Usage conditions apply
Copyright:
© International Center of Photography, New York
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm473593ba0-efe0-4ef9-b17c-de1dc1854260
EDAN-URL:
edanmdm:npg_NPG.94.253

Eisenstaedt: Germany

Designer:
William Wondriska, American, b. 1931  Search this
Medium:
Offset lithograph on paper
Type:
graphic design
Poster
Object Name:
Poster
Made in:
USA
Date:
1981
Credit Line:
Gift of Various Donors
Accession Number:
1981-29-242
Restrictions & Rights:
Usage conditions apply
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
GUID:
http://n2t.net/ark:/65665/kq421bbdaed-6c31-4218-b942-e5315f4f8aee
EDAN-URL:
edanmdm:chndm_1981-29-242

Mathew Brady and the image of history / Mary Panzer ; with an essay by Jeana K. Foley

Author:
Panzer, Mary  Search this
Foley, Jeana Kae  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Fogg Art Museum  Search this
International Center of Photography  Search this
Subject:
Brady, Mathew B. 1823 (ca.)-1896  Search this
Physical description:
xxiii, 232 p. : ill ; 29 cm
Type:
Exhibitions
Place:
United States
Date:
1997
C1997
Civil War, 1861-1865
Topic:
Photographers--Biography  Search this
Portrait photography--History  Search this
History  Search this
Photography  Search this
Call number:
TR647.B812 P3 1997
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_522579

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