The papers of Neil Merton Judd, archeologist and curator in the Smithsonian Institution United States National Museum, were deposited in the National Anthropological Archives at various times during the 1960's and 1970's. Much of Judd's own material was produced as part of his official duties and lie within the public domain. The collection occupies fourteen linear feet of shelf space.
Scope and Contents:
These papers reflect the professional life of Neil Merton Judd (1887-1976), archeologist and curator in the former United States National Museum of the Smithsonian Institution. Included are diaries of expeditions, correspondence, field notes, notes, financial records, copies of historical documents, maps, drawings, photographs, and other documents that cover the period from the 1870s to the 1970s. Most of the material, however, is dated between 1907 and 1965.
Of primary concern is Judd's archeological work in Arizona, New Mexico, and Utah, especially at Pueblo Bonito and other sites in the area of Chaco Canyon, New Mexico, which he carried out for the National Geographic Society between 1920 and 1927. Appreciable material concerns the so-called Beam expeditions of 1923, 1928, and 1929 to locate study of tree-rings. Other documents relate to Judd's work in San Juan country, Utah; at Paragonah and other sites in southern Utah; and on the Walhalla Plateau in Arizona. Some correspondences, which Judd carried on with William B. Marye between 1932 and 1949, concern Indian bridges in Maryland and nearby states.
Several other expeditions of which Judd was a member are documented among the papers solely or primarily through photographs. There is little material that reflects Judd's personal life, daily curatorial duties at the United States National Museum, work at Rito de los Frijoles with Edgar L. Hewett in 1910, expedition to Guatemala in 1914, or aerial surveys of old canals in Arizona during the 1929-30.
Among correspondents whose letters are included among the papers are Glover M. Allen, Monroe Amsden, Bryant Bannister, James F. Breazeale, Harold S. Colton, Kenneth J. Conant, Fredrick V. Coville, Richard E. Dodge, Harold S. Gladwin, Gilbert Grosvernor, Edgar L. Hewett, Frederick Webb Hodge, William H. Jackson, Jean A. Jeancon, John O. La Gorce, Frank McNitt, Sylvanus G. Morley, Earl H. Morris, Nels C. Nelson, Jesse L. Nusbaum, Deric O'Bryan, George H. Pepper, Frederick Wilson Popenoe, Frank H. H. Roberts, Karl Ruppert, Carl S. Scofield, Hugh L. Scott, Harry L. Shapiro, Anna O. Shepard, Alfred M. Tozzer, and Clark Wissler. In addition to his own material, Judd also acquired some material from members of his expeditions, especially from Frans Blom, Karl Ruppert, and Oscar B. Walsh. He also collected historical documents and photographs. Among these are copies of documents relating to southwestern archeological explorations of the naturalist Edward Palmer. He also acquired photographs by Walter Hough made in Arizona between 1904 and 1920., photographs taken on the Hyde Exploring Expedition to Chaco Canyon, and miscellaneous photographs made on expeditions of William H. Jackson, Edgar A. Mearns, and others.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
To a degree, the arrangement of the collection is Judd's own. The series titles in quotation marks are Judd's own.
"Pueblo Bonito File"
Chaco Canyon Notes, Notebooks, and Note Cards
Material Relating to Judd's Bureau of American Ethnology Expeditions between 1915 and 1920
"Utah File"
Material Concerning Edward Palmer
Correspondence with William B. Marye
Miscellaneous Correspondence
Manuscripts of Writings
Miscellany
Cartographic Material
Artwork and Photographic Enlargements
Photographs
Biographical Note:
Note: Biographical data and a bibliography of Judd's writings are in the series of miscellany among his papers. For an obituary, see Waldo R. Wedel, "Neil Merton Judd, 1887-1976." American Antiquity, volume 43, number 3 (July 1978), pages 399-404, and J. O. Brew, "Neil Merton Judd, 1887-1976." American Anthropologist, volume 80, number 2 (June 1978), pages 352-54. An obituary prepared by Judd is among the papers.
October 27, 1887 -- Born in Cedar Rapids, Nebraska
1907-08 -- Public school teacher in Utah
1907 -- Student archeologist on Byron Cummings' reconnaissance of White Canyon, Utah
1908 -- Student archeologist on Cummings' reconnaissance of Montezuma Canyon, Utah, and Segi Valley, Arizona.
1909 -- Student archeologist on Cummings' reconnaissance of Segi Valley, Arizona, and the Cummings- Douglass expedition to Rainbow Natural Bridge.
1910 -- Student assistant to Edgar L. Hewett on the Archeological Institute of America's expedition to El Rito del los Frijoles, New Mexico
1911 -- Bachelor of Arts, University of Utah
1911-1917 -- Aid, Division of Ethnology, United States National Museum, Smithsonian Institution
1913 -- Master of Arts, George Washington University, Washington, D.C.
1914 -- Member, Archeological Institute's Fourth Quirigua Expedition to Guatemala; supervised the fabrication of a reproduction model of ruins for the Pacific-California International Exposition, San Diego
1915 -- Archeological reconnaissance of Indian mounds in and near Willard, Beaver City, Paragonah, St. George, Kanab, and Cottonwood Canyon, Utah, and "Spanish Diggings" flint quarries in Wyoming for the Bureau of American Ethnology
1916 -- Reconnaissance and excavations of Indian mounds near Paragonah and in Willard County, Utah, for the Bureau of American Ethnology
1916-18 -- Treasurer, American Anthropological Association
1917 -- Director, project for partial restoration of Betatakin ruin, Arizona, for the United States Department of the Interior, and the excavations at Paragonah, Utah, for the Smithsonian and University of Utah
1918 -- Archeological reconnaissance of the Walhalla Plateau, Arizona, for the Bureau of American Ethnology
1918-19 -- Assistant Curator, Department of Anthropology, United States National Museum
1919 -- Archeological investigations in Cottonwood Canyon, Utah, for the Bureau of American Ethnology
1919-30 -- Curator, American Archeology, Division of Archeology, Department of Anthropology, United States National Museum
1920 -- Archeological investigations at Toroweap Valley, Mt. Trumbull, Pariah Plateau, House Rock Valley, Bright Angel Creak, Cottonwood Canyon, and Kanab Creek in Utah and Arizona for the Bureau of American Ethnology and reconnaissance of Chaco Canyon, New Mexico, for the National Geographic Society
1920-23 -- Vice President, Anthropological Society of Washington
1921-27 -- Investigations of Pueblo Bonito and nearby ruins in New Mexico for the National Geographic Society
1923 -- Led first Beam expedition to sites in Arizona, New Mexico, and Colorado, and carried out explorations in San Juan County, Utah, for the Smithsonian Institution and the National Geographic Society
1925-27 -- Member, Board of Managers, Washington Academy of Science, and President, Anthropological Society of Washington
1925-28 -- Member, Division of Anthropology and Psychology, National Research Council
1926 -- Archeological Observations North of the Rio Colorado, Bureau of American Ethnology Bulletin 82, 1926
1927-36 -- Trustee, Laboratory of Anthropology, Santa Fe, New Mexico
1928 -- Investigations of Indian burials in rock shelter, Wolf Creek, Russell County, Kentucky, for the Bureau of American Ethnology
1929 -- Led Third Beam Expedition to sites in Arizona for the National Geographic Society and reconnaissance of the prehistoric canals in the Gila River and Salt River valleys for the Bureau of American Ethnology
1930 -- Aerial surveys of ancient canals in the Gila River and Salt River valleys for the Bureau of American Ethnology and the United States Department of War
1930-49 -- Curator, Archeology, United States National Museum
1931 -- Investigations on the Natanes Plateau, Arizona, for the Bureau of American Ethnology
1931-32 -- Member, Division of Anthropology and Psychology, National Research Council (second time)
1935 -- Smithsonian Institution's delegate to the second assembly, Pan-American Institute of Geography and History
1936-48 -- Advisory Board, Laboratory of Anthropology, Santa Fe, New Mexico
1937-39 -- Member, Division of Anthropology and Psychology, National Research Council (third time)
1938 -- Married Anne Sarah MacKay
1938-40 -- Member, Board of Managers, Washington Academy of Science
1939 -- President, Society for American Archaeology, and Vice President and Chairman, Section H, American Association for the Advancement of Science
1945 -- President, American Anthropological Association
December 31, 1949 -- Retired from the staff of the United States National Museum
January 1, 1950 -- Honorary Associate in Anthropology of the Smithsonian Institution
1953 -- Awarded the Franklin L. Burr Award of the National Geographic Society
1954 -- The Material Culture of Pueblo Bonito, Smithsonian Miscellaneous Collections, volume 125
1958 -- Awarded Certificate of Award of the Smithsonian Institution
1959 -- Pueblo Del Arroyo, Chaco Canyon, New Mexico, Smithsonian Miscellaneous Collections, volume 138, number 1
1962 -- Awarded the Franklin L. Burr Award of the National Geographic Society (second time)
1964 -- The Architecture of Pueblo Bonito, Smithsonian Miscellaneous Collections, volume 147, number 1
1965 -- Awarded the Alfred Vincent Kidder Award of the American Anthropological Association
1966 -- Awarded Special Award of the United States Department of the Interior
1967 -- The Bureau of American Ethnology: A Partial History, University of Oklahoma Press
1968 -- Men met along the Trail: Adventures in Archeology, University of Oklahoma Press
December 19, 1976 -- Died
Related Materials:
Additional material in the National Anthropological Archives that relates to Judd can be found among the correspondence files of the Bureau of American Ethnology; files of the Department of Anthropology of the United States National Museum, especially those of the Division of Archeology; papers of Frank H.H. Roberts; papers of William B. Marye; American Antiquities permits records of the Anthropological Society of Washington; papers of John P. Harrington; papers of Frank M. Setzler; papers of Henry B. Collins; and records of the American Anthropological Association. Additional photographs that relate to the expeditions of which Judd was a member are in the cataloged and the uncataloged photographs. For example, negatives and other photographic material of the aerial surveys of ancient canals in the Gila River and Salt River valleys in Arizona are NAA photographic lot 3.
Restrictions:
The Neil Merton Judd papers are open for research.
Access to the Neil Merton Judd papers requires an appointment.
Photographs made by Neil Merton Judd documenting expeditions and sites in Utah and Arizona, including Augusta Bridge, Rainbow Bridge, Monument Valley, and Navajo Mountain. The photographs also include images of expedition parties from the University of Utah expedition to White Canyon in 1907 (including members Byron Cummings, Dr. E. L. Hewitt, Rev. F. F. Eddy, Fred Scranton, John C. Brown, Neil Judd, Dan Perkins, and Joseph Driggs); Dr. Alfred V. Kidder and "Old Mack" at the University of Utah excavations under Byron Cummings at Alkali Ridge; John Wetherill and Navajo people at his trading post in Oljeto, UT; and the Cummings-Douglass pack train making its way to Rainbow Bridge.
Biographical/Historical note:
Neil Merton Judd (1887-1976) first studied archeology under his uncle, Byron Cummings, at the University of Utah in 1907. He participated in Cummings' expeditions to White Canyon, Utah (1907); Segi Valley, Arizona (1908); Montezuma Canyon, Utah (1908); and the Cummings-Douglass expedition to Rainbow Natural Bridge (1909). After graduating from the University of Utah (1911), Judd was hired as an aid in anthropology at the Smithsonian's United States National Museum, later becoming assistant curator (1918) and curator of American archeology (1930). Between 1915 and 1920, he conducted numerous archeological investigations in Utah, Arizona, and New Mexico for the Bureau of American Ethnology and the United States National Museum. With the support of the National Geographic Society, from 1920 until the 1950s he worked at Pueblo Bonito and other Chaco Canyon sites.
Local Call Number(s):
NAA Photo Lot 4757
Location of Other Archival Materials:
Related photographs from the Cummings expedition held in National Anthropological Archives Photo Lot R4758.
The National Anthropological Archives holds Neil Merton Judd's papers.
Additional photographs by Judd held in National Anthropological Archives Photo Lot 3, Photo Lot 93, and Photo Lot 24.
Other materials relating to Judd held in the National Anthropological Archives in MS 7201, MS 2920, MS 4357, MS 7451, MS 4036, MS 7253, Science Service Records, and Records of the Department of Anthropology.
Correspondence from Judd held in the National Anthropological Archives in MS 4821, Records of the Bureau of American Ethnology, Society for American Archaeology records, and collections of personal papers.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo Lot 4757, Neil Merton Judd photographs of expeditions in Utah and Arizona, National Anthropological Archives, Smithsonian Institution
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
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:
Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
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:
Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Alice L. Walton Foundation.
Photographs made by Stuart M. Young on the Byron Cummings expeditions to northern Arizona and southern Utah in 1909. They document Hopi houses, dances, and ceremonies; Navajo Indians near Bluff City, Utah; John Wetherill, Hoskinine Begay, and Ida Wetherill near Wetherill's home in Oljeto, Utah; scenery; and archeological sites. Images of archeological sites include cliff dwellings and kivas at Sosa Canyon, Neet Se Canyon, and Sega Canyon (Betatakin, Keet Seel, and Round Man House, possibly in or near Sega Canyon). Also depicted are expedition party members Byron Cummings, Don Beauregard, John Wetherill, Malcom Cummings, Doc Blum, Neil Judd, Dr. E. L. Hewitt, Ida Wetherill, Mrs John Wetherill, W. B. Douglass, Ned English, Dan Perkins, Jack Kenan, Vern Rogerson, and Stuart M. Young.
Biographical/Historical note:
Stuart M. Young (1890-1972), grandson of Brigham Young, was a student and photographer on the Byron Cummings expedition in 1909.
Local Call Number(s):
NAA Photo Lot R4758
Reproduction Note:
Copy prints made at Smithsinian Institution, 1966, from a total of 175 copy negatives lent by University of Utah, Department of Anthropology, through Jesse D. Jennings.
Location of Other Archival Materials:
Related photographs of the Cummings expeditions by Neil Merton Judd held in National Anthropological Archives Photo Lot 4757.
The Northern Arizona University Cline Library holds the Stuart M. Young photograph collection, 1909-1954.
Contained in:
Numbered manuscripts 1850s-1980s (some earlier)
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
This copy collection has been obtained for reference purposes only. Contact the repository for terms of use and access.
Genre/Form:
Photographs
Citation:
Photo Lot R4758, Stuart M. Young photographs relating to Cummings expeditions to Arizona and Utah, National Anthropological Archives, Smithsonian Institution
3 Video recordings (published videos or video series)
99 Linear feet (714,405 feet (332 hours) 16mm film, 435 hours video tape, 309 hours audio tape, 21 published film and video titles, 29 unpublished film and video titles, 14 linear feet paper records)
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000. This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. The Marshall Collection also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's.
Scope and Contents:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and
video projects (outtake material), film production elements and edited films and videos,
audio tapes, still photographs, negatives, transparencies, slides, published and
unpublished writing by John Marshall and others, study guides for edited films, Nyae
Nyae Development Foundation and Advocacy files, maps, and production files that
include letters, shot logs, translations, transcriptions, editing logs, treatments, and
proposals spanning from 1950-2000.
This material comprises Marshall's long-term documentary record of the Ju/'hoansi of
the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the
film and video footage focuses on one particular extended family, that of Toma Tsamko,
whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent
waterhole. The life stories of some family members are captured in the footage;
appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in
the final years of visual documentation. Beginning in 1978, Marshall often conducted
lengthy and in depth interviews with many family members, in which they reflect on past,
present, and future, and often comment on specific film footage from earlier years which
was shown to them during the interviews. The collection is not limited to the /Gautcha
family, however; it also documents other Ju/'hoansi living in Nyae Nyae and elsewhere,
their relationships with neighboring ethnic groups, and national politics that affected
Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers'
Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development
Foundation of Namibia, or NNDFN), and the ways in which both groups worked with
and were affected by international development organizations and foreign aid during the
1990's. The collection also documents changes to the landscape and wildlife of the Nyae
Nyae region.
Arrangement:
This collection is arranged in 13 series: (1) Unedited Film and Video Projects, 1950-1978, 1981-2003; (2) Published Films and Videos, 1952-2002; (3) Unpublished Films and Videos, 1959-1962, circa 1965; (4) Audio, 1950s, 1978-1990; (5) Field Notes, Shot Logs, Translations, 1951-2000; (6) Production Files, 1952-2004; (7) Correspondence, 1968-2003 [bulk 1993-2000]; (8) Nyae Nyae Development Foundation & Advocacy Files, 1975-2003 [bulk 1984-2003]; (9) Published and Unpublished Writing, 1957-1958, 1980-1999, 2007; (10) Study Guides, 1974, 1982; (11) Writings by Others & Press, 1952-1953, 1965-2005; (12) Photographs, 1930s, 1946-2003; (13) Maps, 1872, 1879, 1914, 1933-1989.
Biographical / Historical:
John Marshall, filmmaker and activist, was born on November 12, 1932 in Boston, Massachusetts. He grew up in Cambridge, Massachusetts and on his family's farm in Peterborough, New Hampshire. Marshall first picked up a camera in 1950, at the age of 18, during the first of several expeditions to the Kalahari organized by his father, Laurence Marshall, the founding president of the Raytheon Corporation. The whole Marshall family - including John's mother, Lorna, and sister, Elizabeth Marshall Thomas - became engaged in a multi-disciplinary study of the Ju/'hoansi. Marshall's father assigned him the task of making a documentary film record of Ju/'hoan life and culture. Between 1950 and 1958, he shot over 300,000 feet of 16mm film (157 hours).
Marshall formed a close bond with many of his Ju/'hoan subjects, particularly with Toma "Stumpy" Tsamko, leader of the /Gautcha band. Amongst Ju/'hoansi, Marshall was known as Toma Xhosi, Toma "Longface". Probably because of this close relationship, he was forced to leave South West Africa in 1958 after his visa expired, and was not allowed back for twenty years.
During the 1960's and 1970's, Marshall became well-established as a cinema vérité filmmaker. After leaving the Film Study Center at Harvard, which he had co-directed with Robert Gardner, he worked briefly with Robert Drew and D.A. Pennebaker, and later collaborated with Fredrick Wiseman on Titicut Follies (1967). He forged friendships with leading documentary and ethnographic filmmakers, including Timothy Asch, Ricky Leacock, and Jean Rouch.
Throughout these years, Marshall continued to work with his extensive footage of Ju/'hoansi. He completed 15 short films, as well as the award-winning Bitter Melons. In 1968, Marshall partnered with Tim Asch to found Documentary Educational Resources (DER), to distribute and support the creation of ethnographic and educational film.
In 1978 Marshall was allowed to return to Nyae Nyae to shoot N!ai, the Story of a !Kung Woman. Finding his Ju/'hoan friends beset by illness, poverty, and growing social ills, John turned his attentions to development and advocacy work. Virtually abandoning his filmmaking career, Marshall started a foundation to assist Ju/'hoansi and spent most of the 1980's helping them establish water access, subsistence farming, and a local government. He began using film as an advocacy tool, and released several urgent, issuefocused videos to raise awareness of the Ju/'hoan struggle for self-determination.
Marshall continued his documentary record of Ju/'hoansi, directing his final shoot in 2000. A Kalahari Family (2002), his epic six-hour series, tells the story of the Ju/'hoansi from 1950-2000 and charts Marshall 's evolution from filmmaker to activist. He made his final visit to Nyae Nyae in 2004, and continued his advocacy work right up to his final days. John Marshall died due to complications from lung cancer on April 22, 2005.
John Marshall Chronology
1932 -- Born in Boston, Massachusetts
1950-1958 -- Marshall Family expeditions to study the Ju/'hoansi of Nyae Nyae
1957 -- Awarded B.A. in Anthropology from Harvard University The Hunters released
1958-1960 -- Associate Director (with Robert Gardner) of the Film Study Center, Peabody Museum, Harvard University
1960 -- Awarded G.S.A.S. in Anthropology from Yale University
1960-1963 -- Director, Bushmen Film Unit, Harvard University
1962 -- Sha//ge Curing Ceremony (early version of A Curing Ceremony), A Group of Women and Joking Relationship screened at Flaherty Seminar
1964-1965 -- Cameraman for NBC covering civil war in Cyprus
1966 -- Awarded M.A. in Anthropology from Harvard University
1967 -- Cameraman and Co-Director of Fredrick Wiseman's Titicut Follies
1968 -- Founded Documentary Educational Resources (DER) with Timothy Asch (first known as CDA, Center for Documentary Anthropology)
1968-1969 -- Cameraman and Director of film shoots for the Pittsburgh Police series, produced through the Center for Violence Studies at Brandeis University
1970-1974 -- Edited and released numerous short films, from both Ju/'hoan (!Kung) and Pittsburgh Police series
1972 -- Collaborated with Nicholas England (musicologist) on a film project documenting a family of drummers in Ghana (this film was never completed)
1972-1973 -- Travel to Botswana to film National Geographic's Bushmen of the Kalahari, produced by Wolper Productions
1974 -- If It Fits, documentary on failing shoe industry in Haverhill, MA, released
1976 -- Director and cameraman of film shoots for Smithsonian Festival of American Folklife
1978 -- Film shoot in Nyae Nyae for N!ai, The Story of a !Kung Woman
1980 -- N!ai, The Story of a !Kung Woman released and broadcast on PBS as partof the Odyssey series
1980-1982 -- Conducted genealogical survey in Nyae Nyae with Claire Ritchie
1982 -- Founded the Ju/wa Cattle Fund (later known as the Nyae Nyae Development Foundation of Namibia)
1985 -- Pull Ourselves Up or Die Out, Marshall's first "field report" edited on video, released
1989 -- Returns to Boston after Namibian independence
1991 -- To Hold Our Ground, another "field report" is aired on Namibian television shortly before a national Land Rights Conference
1993 -- The Cinema of John Marshall published
1995 -- Awarded Honorary M.F.A. from Rhode Island School of Design
2000 -- Final video shoot in Nyae Nyae
2002 -- A Kalahari Family premieres at the Margaret Mead Film Festival in New York City; released for general distribution in 2003
2004 -- Makes final visit to Nyae Nyae; presents proposal for water point protections
2005 -- Dies in Boston, Massachusetts
Orthography Note:
Ju/'hoansi are the speakers of the Ju/'hoan language. Various cultural descriptors used
over the years include !Kung which is a language group containing three dialect groups,
one of which is the Ju/'hoansi; San, which is now regarded by the Ju/'hoansi to have
negative connotations; and Bushman, which ironically (given the derogatory history of
this term) is now preferred by the Ju/'hoansi as a term of dignity. (Orthography
information provided by Dr. Polly Wiessner, University of Utah anthropologist and longtime
field worker among and researcher of the Ju/'hoansi.)
The orthography of the Ju/'hoan language has changed many times, though an official
orthography was agreed upon and accepted by the Namibian government in 1991. The
finding aid, cataloging records, and shot logs for the Marshall collection at Human Studies Film Archives
continue to use the orthography used by the Marshall family beginning in 1950. These
spellings are usually anglicized versions of the official orthography. For example, the
name ≠Oma was usually rendered by the Marshalls as Toma; the place name /Aotcha as
/Gautcha or Gautscha.
The majority of the footage was shot in a region of Namibia (formerly South West
Africa) known as Nyae Nyae. In the 1960's, a portion of the Nyae Nyae area was
officially established as a homeland for Ju/'hoansi by the South West African
administration. This area, once called Eastern Bushmanland, is now known as Eastern
Otjozondjupa, however it is still referred to as Nyae Nyae by Ju/'hoansi and others. The
Nyae Nyae Conservancy, which encompasses a large portion of Eastern Otjozondjupa,
was established in 1996.
Filmography:
JU/'HOAN BUSHMAN FILM SERIES
1952 -- First Film [also known as !Kung Bushmen of the Kalahari] (by Lorna Marshall)
1957 -- The Hunters
1959 -- A Curing Ceremony
1961 -- A Group Of Women
1962 -- A Joking Relationship
1966 -- !Kung Bushmen Hunting Equipment (directed by Lorna Marshall)
1969 -- N/um Tchai: The Ceremonial Dance of the !Kung Bushmen
1969 -- An Argument About A Marriage
1970 -- The Lion Game
1970 -- The Melon Tossing Game
1971 -- Bitter Melons
1972 -- Debe's Tantrum
1972 -- Men Bathing
1972 -- Playing With Scorpions
1972 -- A Rite of Passage
1972 -- The Wasp Nest
1974 -- Baobab Play
1974 -- Children Throw Toy Assegais
1974 -- The Meat Fight
1974 -- Tug-Of-War
1980 -- N!ai, the Story of a !Kung Woman
1985 -- Pull Ourselves Up Or Die Out
1990 -- To Hold Our Ground: A Field Report
1991 -- Peabody Museum !Kung San Exhibit Video
2002 -- A Kalahari Family
In addition to Marshall's many published films on the Ju/'hoansi, he was also involved in a variety of other film projects. He shot and co-directed Titicut Follies, a film by Fredrick Wiseman. Working in association with the Lemburg Center for Violence Studies at Brandeis University, he shot and directed a series of short films about a police squad in Pittsburgh, PA, known as the Pittsburgh Police series. He also shot and directed If It Fits, a film about the failing shoe industry in Haverhill, MA. Marshall was also the subject of two television programs: Bushmen of the Kalahari, a National Geographic special which aired in the United States, and a Japanese program called Forty Years in the Kalahari, part of the television series, Our Wonderful World. All of these, as well as Marshall's Ju/'hoan films, are included in this filmography.
PITTSBURGH POLICE SERIES
1970 -- Inside/Outside Station 9
1971 -- Three Domestics
1971 -- Vagrant Woman
1972 -- 901/904
1972 -- Investigation of a Hit and Run
1973 -- After the Game
1973 -- The 4th, 5th, & Exclusionary Rule
1973 -- A Forty Dollar Misunderstanding
1973 -- Henry Is Drunk
1973 -- The Informant
1973 -- A Legal Discussion of a Hit and Run
1973 -- Manifold Controversy
1973 -- Nothing Hurt But My Pride
1973 -- Two Brothers
1973 -- $21 or 21 Days
1973 -- Wrong Kid
1973 -- You Wasn't Loitering
OTHER FILMS
1967 -- Titicut Follies (Co-Director, Cinematographer; film by Fredrick Wiseman)
1972 -- Ghana Drumming (uncompleted; collaboration with Nicholas England)
1974 -- Bushmen of the Kalahari (by Wolper Productions for National Geographic)
1975 -- Vermont Kids (series of short films; released in 2007)
1976 -- Festival of American Folklife (uncompleted; shot for Smithsonian Institution)
1978 -- If It Fits
1988 -- Our Wonderful World: Forty Years in the Kalahari (by Nippon A-V Productions)
Related Materials:
The Human Studies Film Archives holds several related collections, including:
• The Nicholas England Collection, which consists of audio recordings from 1951-1961. This collection contains both originals and duplicates of audio tapes recorded during the Marshall Expeditions. (2005.9)
• The Journal of Robert Gesteland, kept during the Marshall !Kung Expedition VI, 1957-58. (2007.17)
• Master copies of the full film record of Bushmen of the Kalahari (1974), a television
program featuring John Marshall's 1973 visit to the /Gwi San of Botswana, produced by Wolper Productions for National Geographic. (2008.12)
• Reference copies of the full video record of Our Wonderful World: Forty Years in the
Desert, Nippon A-V's 1988 Japanese television program about John Marshall and the Ju/Wa Bushman Development Foundation. (2009.2.1)
• Master copies of the videotape "library" kept by John Marshall for reference and stock footage purposes. Compiled from various sources, the videos include news programs, documentaries, and raw footage of Ju/'hoansi and other San peoples from the 1920's --1990's, as well as interviews with John Marshall and his mother, Lorna
Marshall. (2009.2)
• Additional audio recordings, including interviews with Ju/'hoansi made by John Marshall and others. (2009.3)
• Full film record of [Ghana Drumming, 1972], an uncompleted project undertaken by John Marshall and Nicholas England, which documents a family of musicians. (2008.11)
The Papers of Timothy Asch, held at the National Anthropological Archives, contain
information on Asch's work with John Marshall at Harvard University from 1959-1963,
their collaboration in founding DER, and details on the use of Marshall's Ju/'hoan
footage in the development of MACOS (Man, A Course of Study).
There are also several closely related collections held at the Peabody Museum of
Archaeology and Ethnology, Harvard University. These collections relate to the 1950's
Marshall Expeditions and include: Expeditionary Notebooks and Journals of Lorna and
Laurence Marshall; Journal of Elizabeth Marshall Thomas; the Marshall Family
Photograph Collection; and the Records of the South West Africa Expeditions, 1950-
1959. The Harvard Film Archive, Harvard University, holds film prints of several of
Marshall's published films on the Ju/'hoansi, including The Hunters.
Provenance:
The John Marshall Ju/'hoan Bushman Film and Video Collection was received over several years of accessioning from different parties.
Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
An interview of Flora Mace conducted 2005 August 17-18, by Lloyd E. Herman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, which she shares with Joey Kirkpatrick, in Seattle, Washington.
Ms. Mace discusses growing up in New Hampshire, in a house that her family had lived in for generations; various family businesses, including clam-shucking; how her mother suffered from depression throughout her childhood; her grandparents, who played a large role in her upbringing; joining the 4-H and becoming a skilled shepherd; her family's hunting, fishing, and gathering, on which they survived during her childhood; the various art projects she did with her mother and grandmother, including making wreaths for friends and relatives; building tree houses out of scrap wood; trapping animals and making their pelts into clothes for her dolls; saving up her money from after school jobs and the 4-H competitions to buy tools; getting a scholarship from her grandmother's old employer to go to college; attending Plymouth State; her involvement in college athletics, including field hockey, skiing, and softball; early artistic influences, especially Alexander Calder; traveling to Norway on the International Farm Youth Exchange; attending the University of Illinois for graduate school and being their sculpture technician; attending a summer workshop at the University of Utah with Dale Chihuly; being invited by Chihuly to go to Pilchuck Glass School to continue her work; becoming an artist-in-residence at Wheaton Glass Village; having her first show at the Contemporary Glass Gallery (later the Heller Gallery) in New York; the growth of the studio glass movement in the late 1970s; and finally going to Pilchuck Glass School for the first time in 1979, where she met Joey Kirkpatrick. The continuation of Mace's story, and her lifelong collaboration with Kirkpatrick, is discussed in a joint interview of Kirkpatrick and Mace. Mace also recalls Bill Morris, Ben Moore, Audrey Handler, Paul Stankard, Mary and Frank Wheaton, and others.
Biographical / Historical:
Flora Mace (1949- ) is a glass artist from Seattle, Washington. Lloyd E. Herman (1936- ) is a curator and former director of the Smithsonian's American Art Museum's Renwick Gallery and currently lives in Seattle, Washington.
General:
Originally recorded on 3 sound discs. Reformatted in 2010 as 6 digital wav files. Duration is 3 hrs., 25 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.
Collection is open for research. Access to collection materials requires an appointment.
Collection 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.
Collection Citation:
Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
Collection is open for research. Access to collection materials requires an appointment.
Collection 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.
Collection Citation:
Norma Merrick Sklarek Archival Collection, 1944-2008. National Museum of African American History and Culture, Smithsonian Institution.
This collection consists of one scrapbook and some additional materials relating to Dr. William R. Jacobs and his service in the Alaskan Air Transport Command (Arctic Search and Rescue Unit) during World War II.
Scope and Contents:
This collection consists of one scrapbook containing photographs, newspaper articles and correspondence relating to Dr. William R. Jacobs and his service in the Alaskan Air Transport Command (Arctic Search and Rescue Unit) during World War II. The collection also includes copies of letters from Jacobs to his family, 1943-1945; twelve black and white photographs; three issues of the North Star, newsletter for the Alaskan Division, Air Transport Command; miscellaneous magazine articles and correspondence; a report of a medical emergency at Fish Lake, YT, April 1945; and a VHS copy of "Paradocs," which was produced by Dr. Paul Little for the Air Force Television News.
Arrangement:
This collection is arranged by type of material.
Biographical / Historical:
William Rigby Jacobs (1906-1957) was born in Ogden, Utah, and attended Weber College and Brigham Young University for his bachelor's degree and the University of Utah and Rush Medical College for his medical degree. In 1941, Jacobs moved with his family to Lewiston, Idaho, and established a general medical practice. He was commissioned with the Air Force in August of 1942, serving as a flight surgeon with the Alaskan Division of the Air Transport Command, in charge of an Arctic Search and Rescue Unit for northern Canada and Alaska. Jacobs served as a medic who parachuted into Arctic rescue situations with sled dogs, and he was awarded the Silver Star for his effort to render aid to a fighter pilot who had parachuted from his disabled aircraft. Jacobs was promoted to captain before being honorably discharged in 1945. Dr. Jacobs died of a heart attack while caring for his Appaloosa horses, which he bred as a hobby.
Provenance:
Pauline Jacobs, Mary Heuskinkveld, Gift, 2003, additional material sent by Henry Heuskinkveld in 2003 and 2004, NASM.2003.0050.
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. Search this
Container:
Box 1, Video 859.1
Type:
Archival materials
Moving Images
Date:
2004 February 27
Scope and Contents:
Total Running Time: 32:30
Maggie Dennis and Katherine Ott interview of Van Phillips, topics discussed: his life as a father; a desire to create a Landmine Foot; his early disdain for the Flex-Foot; the brainstorming process with partners about the design of prosthetic feet; his work at Flex-Foot Inc. and the frustrations he experienced with the science advisory board; his appreciation of creativity and how ideas come to him; the founding of Flex-Foot Inc.; his partners Dale Abildskov and Bob Fosberg; the decision to sell the company to Ossur; and how he ended up at the University of Utah's Center for Biomedical Design.
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions
Collection Citation:
Van Phillips Oral History and Papers, Archives Center, National Museum of American History.
Terence "Terry" Sheldon Turner (1935-2015) was best known for his ethnographic work among the Mebêngôkre (Kayapó) people of the Amazon rainforest and his work as an activist for the Mebêngôkre and other communities. This collection documents his interest in the Mebêngôkre and his work as a human rights activist. It includes field notes, censuses, papers, notes, correspondence, news clippings, sound recordings, films, photographs, charts and diagrams, genealogy and kinship information, and computer discs.
Scope and Contents:
The Terence Turner papers contain materials related to his work as an anthropologist and human rights activist. Turner's primary focus of research was the Mebêngôkre (Kayapó) people of the Amazon rainforest. The collection contains field notes, censuses, papers and draft manuscripts, correspondence, notes, news clippings, sound recordings, films, photographs, charts and diagrams, genealogy and kinship information, and computer discs relating to that interest. His work in human rights is also well documented; the collection contains notes, papers, correspondence, and news clippings. A significant amount of the human rights material relates to the Yanomami controversy which arose when Turner and Leslie Sponsel sent the American Anthropological Association a memo warning of the furor that was likely to result from the publication of the book Darkness in El Dorado by Patrick Tierney. The human rights materials in the collection also include materials relating to the Mebêngôkre and their environmental protection protests and demonstrations. The film and video primarily relate to the Granada Television films for which he consulted and the films produced by the Kayapo with the help of the Kayapo Video Project. There are some materials relating to courses which he taught or took.
Arrangement:
This collection is arranged in 7 series: (1) Research, 1952-2015; (2) Human rights, ethics, and activism, circa 1964-2015; (3) Papers, conferences, and courses, 1959-2013; (4) Correspondence and contacts, 1966-2008; (5) Computer files, 1983-2010; (6) Photographs, 1938-1942, 1952, 1962-2014; (7) Sound recordings, 1962, 1976-2003; and (8) Film and video, 1975-2008
Biographical Note:
Terence "Terry" Sheldon Turner (1935-2015) was best known for his ethnographic work with the Mebêngôkre (Kayapó) people of the Amazon rainforest and his work as an activist for the Mebêngôkre and other communities. He was born in Philadelphia and raised outside of Washington, DC. He earned his A.B. from Harvard University (1957) and M.A. from the University of California, Berkeley (1959), in Modern European History. His interest in how society functions brought him to the Department of Social Relations at Harvard University for his Ph.D. (1965), where his studies turned to Social Anthropology. His interests were still in Europe, but his advisor, David Maybury-Lewis, persuaded him to study the Mebêngôkre in Brazil (Moberg). Despite his initial intentions, Turner developed a lasting relationship with the Mebêngôkre, who gave him the name Wakampu. He worked with the community for more than 50 years, visiting them over 20 times.
Turner and his then wife, Joan Bamberger, lived with the Mebêngôkre (Kayapó) from 1962 to 1964 while conducting research for their dissertations. His initial studies were on socio-cultural change, social organization, political systems, dual organization, a comparison to other Gê tribes, and mythology. Joan studied Mebêngôkre material culture, as it related to both function and significance. Turner's interest in mythology and the ties between the structure and motifs of myths to social structure led him to spend a year (1966-1967) at the University of Paris where Claude Lévi-Strauss was working on a project involving comparisons of mythology and social structure of different Central Brazilian indigenous groups.
Turner taught at Cornell University from 1966 to 1968, at the University of Chicago from 1968 to 1999, and then returned to Cornell from 1999 to 2015 where his wife, Jane Fajans, was also a professor. While teaching at the University of Chicago, Turner developed an interest in Karl Marx and the applications of his theories to anthropology (Moberg). He stated in a Guggenheim grant application that "Another main line of theoretical effort has been my attempt to generalize Marx's concept of value to account for the forms of social value generated in such forms of 'social production', in particular those of the Kayapo and other primitive, classless societies" (Terence Turner papers). In an interview for an article in the Chicago Reader, he said that "The Kayapo didn't have an economic sphere. They didn't have commodity production. Production for them in an immediate sense is production of their lives, and of course then you realize–wow!–this is a society for which the complete human being through all stages of life, right up to death, is the supreme product. It's the most complex and demanding product, and the social order is the whole process of producing that product" (Moberg). His interest in Marx led him to study Piaget, Vygotsky, Leont'ev, and Zinchenko, who "provided analytically principled ways of connecting material activity with forms of consciousness" (Terence Turner papers).
Turner was interested in visual anthropology. He assisted in the production of three British documentaries on the Mebêngôkre people: the BBC's Face Values in 1976 and Granada Television's Disappearing World series episodes "The Kayapo" and "The Kayapo: Out of the Forest" in 1987 and 1989. He also assisted the Mebêngôkre in documenting their own culture. The Mebêngôkre had obtained video cameras in 1985 and Turner encouraged them to obtain more cameras from the Granada crew in return for access to the community in 1987 (Harms). In 1990, he created the Kayapo Video Project, which funded the purchase of cameras, education for the Mebêngôkre filmmakers in filming and editing, and preserving the original footage at the Kayapo Video Archive/Arquivo de Video Kaiapo at the Centro de Trabalho Indigenista. Turner stated in a 1996 request for funding that the purpose of the project was "to generate an extensive archive of videos about all aspects of Kayapo culture and ecological knowledge, and simultaneously build up a cadre of well-trained video camerapersons and video-editors capable of continuing video-making and using activities into the future. The videos will be produced (both shot and edited) by the Kayapo themselves. They will form the backbone of a larger project of Kayapo cultural preservation, provide visual tests for use in a projected Kayapo educational program, and also generate a unique audio-visual record of the ecological knowledge and technology of a major Amazonian culture" (Terence Turner papers).
Turner was also very involved in human rights work and activism for indigenous communities. He felt it was the responsibility of anthropologists to defend the rights of the people whom they studied. He was involved in "anthropological activism," assisting the Mebêngôkre and others in their fight to protect their rights and environment. This interest began when Turner investigated the movement of miners, loggers, and poachers onto Mebêngôkre lands for FUNAI (the Fundação Nacional do Índio) (Harms). There were widespread protests against these incursions by the Mebêngôkre beginning in the early 1970s, which resulted in the Mebêngôkre gaining land rights. Despite this success, conflicts between the Mebêngôkre and Brazilian nationals, as well as within the Mebêngôkre community, continued. Turner both observed and participated in many of these protests and documented the ways in which these actions affected Mebêngôkre society and culture. Two of the most important protests concerned the planned construction of a series of hydroelectric dams on the Xingú River. The first protest, at Altamira in 1989, successfully derailed the project. The success of this protest brought international attention to the Mebêngôkre, who sent representatives to Canada in 1992 to support the Cree, who were protesting the construction of a hydroelectric dam there. The Brazilian government redesigned their original plans for the series of dams on the Xingú River; when these plans were leaked in 2008, another protest ensued. Turner and his daughter, Vanessa, documented this protest.
Turner's commitment to human rights led to him becoming a founding member of the American Anthropological Association's Ethics Committee (1969-1972) and Committee for Human Rights (1992-1997), serving as president of Survival International, U.S.A., heading the Special Commission of the American Anthropological Association to Investigate the Situation of the Brazilian Yanomami (1990-1991), and receiving the Solon T. Kimball Award from the American Anthropological Association in 1998.
Sources Cited
American Anthropological Association. "AAA Mourns the Loss of Dr. Terence Turner." Accessed June 22, 2022. https://www.americananthro.org/StayInformed/NewsDetail.aspx?ItemNumber=13188
Glaser, Linda B. "Anthropologist Terence Turner dies at 79." Cornell Chronicle, November 11, 2015.
Harms, William. "Terence Turner, anthropologist and human rights advocate for indigenous people, 1935-2015." UChicago News, November 17, 2015.
Moberg, David. "When Worlds Collide: Encounters with Anthropologist Terence Turner and other agents of modernity left the Kayapo of Brazil with something they'd never had before: power." Chicago Reader, October 2, 1997.
Survival International. "Terry Turner." Accessed June 22, 2022. https://www.survivalinternational.org/news/10992
Terence Turner papers, National Anthropological Archives, Smithsonian Institution.
1935 December 30 -- Born in Philadelphia, Pennsylvania
1957 -- A.B. from Harvard College in Modern European History, graduating cum Laude
1959 -- M.A. from the University of California, Berkley, in Modern European History
1961 -- Married Joan Bamberger on August 25
1962 -- Began work with Mebêngôkre (Kayapó)
1965 -- Ph.D. from Harvard University's Department of Social Relations in Social Anthropology Research associate at the Museo Nacional do Brasil
1966-1968 -- Visiting assistant professor of anthropology at Cornell University
1968-1982 -- Assistant professor of anthropology at the University of Chicago
1969-1972 -- Member of the American Anthropological Association's Ethics Committee
1976 -- Advisor for the filming of Face Values with the BBC
1980 -- Married Jane Fajans on July 25
1981 -- Daughter Vanessa Fajans-Turner born on September 26
1982-1999 -- Professor of anthropology at the University of Chicago.
1984 -- Daughter Allison Fajans-Turner born on June 15
1987 -- Advisor for the filming of Disappearing World: The Kayapo with Granada Films
1989 -- Advisor for the filming of Disappearing World: The Kayapo: Out of the Forest with Granada Films
1990-1991 -- Chair of the American Anthropological Association's Special Commission to Investigate the Situation of the Brazilian Yanomami
1992-1997 -- Member of the American Anthropological Association's Committee for Human Rights
1998 -- Received Solon T. Kimball Award from the American Anthropological Association
1999-2004 -- Adjunct professor of anthropology at Cornell University.
2004-2015 -- Visiting professor of anthropology at Cornell University.
2015 November 7 -- Died in Ithaca, New York.
Orthography:
The archivist uses Mebêngôkre (Kayapó) or Mebêngôkre to refer to the Mebêngôkre people. However, Turner and other anthropologists whose work is included in the collection used other spelling variations (Mẽbêngôkre, Mebengokre, Megengokré, Kayapó, Kayapo, Kaiapó, Kaiapo, Cayapó, Cayapo, and Caiapo) which have not be altered in folder titles or descriptions.
The archivist uses Yanomami to refer to the Yanomami (Yanoama) people. Some folder titles or contents may use the Yanomamö spelling.
Related Materials:
Materials related to the Mebêngôkre (Kayapó) in the National Anthropological Archives (NAA) can also be found in the William Lipkind papers and Photo Lot 79-1. Materials related to the Yanomami in the NAA can also be found in the Timothy Asch papers, the American Anthropological Association records, and Photo Lot 94-28. Materials related to the Yanomami in the Human Studies Film Archives (HSFA) can be found in the Timothy Asch and Napoleon Chagnon films of the Yanomamo.
Provenance:
The Terence Turner papers were donated to the National Anthropological Archives by Turner's wife, Jane Fajans, in 2020.
Restrictions:
Audiovisual and digital materials are restricted. Please contact the archives for information on the availability of access copies.
Graded papers are restricted for 80 years from the date of their creation and grant applications are restricted for 30 years from the date of their creation. These restrictions are noted on the folder level.
Access to the Terence Turner papers requires and appointment.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Kathryn D. Sullivan Papers, NASM.2019.0007, National Air and Space Museum, Smithsonian Institution.
An interview of Marilyn Levine conducted 2002 May 15, by Glenn Adamson, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Oakland, California.
Levine speaks of growing up in Alberta, Canada; going to the University of Alberta for her undergraduate and graduate degrees in chemistry; being an analytical inorganic chemist; meeting her husband at the university; her husband's work at the University of Regina in Saskatchewan and how rules about nepotism prevented her from teaching; auditing a drawing and painting art class when she could not find a job; taking evening pottery classes taught by Beth Hone; teaching chemistry at Campion College during the school year and pottery during the summers at the University of Regina; meeting Jack Sures at the Western Potters' Association and his influence on her career; helping Sures get a pottery position at the University of Regina; teaching with him from 1966-1969; using a travel grant from the Canada Council to meet American artists such as Peter Voulkos, Ron Nagle, James Melchert, and Robert Arneson; applying to graduate school at the University of California at Berkeley and being rejected; a James Melchert workshop at Beth Hone's studio; getting into Berkeley's graduate program with Melchert's help; receiving an M.F.A.; separating from her husband; experimenting with Funk art; seeing a pair of worn down shoes and becoming inspired to specialize in super-realist ceramic sculptures; her work as "timeless" and not of a particular fashion; showing her art in a New York gallery and being ripped off; having her M.F.A., one person show, at the Hansen Fuller Gallery and at the University Art Museum; letting the galleries price her work; exhibiting at OK Harris in New York; the long, slow process of making pieces; her work being accepted in America, but not in Canada; teaching ceramics to non-art majors at the University of Utah; developing a studio building, The West Coast Macaroni Factory, with Peter Voulkos; her methods, techniques, and materials including her experiments with fiberglass, nylon, and Dacron; avoiding big conferences, such as the National Council on Education for the Ceramic Arts [NCECA]; her first museum retrospective in 1974 at the Norman McKenzie Art Gallery; her exhibition at the Canadian Clay and Glass Gallery in Waterloo, Ontario, in conjunction with the University of Waterloo; her exhibition, "Sharp Focus Realism," at the Sidney Janis Gallery; her involvement in the exhibition, "Clayworks: 20 Americans," at the American Craft Museum; her work in museum collections; having a commission to make ceramic sculptures of sporting gear for Pacific Enterprises; her studio assistants and feeling a lack of privacy; titling her work with human names for identification purposes but not having specific references to anyone. Levine also recalls Robert Bechtle, Ruth Braunstein, Joan Brown, Stephen DeStaebler, Ivan Karp, Bella Feldman, Duane Hanson, Clay Jensen, John Mason, Joan Mondale, and others.
Biographical / Historical:
Marilyn Levine (1935-2005) was a ceramist from Oakland, California.
General:
Originally recorded on 1 sound disc. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 29 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:
Transcript available on the Archives of American Art website.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Copyright held by donor and/or heirs. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.] .
Collection Citation:
The Computer World Smithsonian Awards, Archives Center, National Museum of American History
The collection is open for research. Use of unmicrofilmed material requires an appointment.
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:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
