Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
We are the working class -- The richest man in the universe -- One world celebration -- Everyone knows it -- Existence -- I am union and I'm proud -- The spoiled brat song -- The probation blues -- Warren County blues -- Organize-- make a stand -- Existence, part II.
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or (202) 633-7322 for additional information.
Restrictions may apply concerning the use, duplication, or publication of items in the Collector Records business records. Please consult the archivists for additional information about the materials and their use.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Collection Citation:
Collector Records business records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution Archives, Accession 94-092, National Museum of American History. Office of the Assistant Director for Academic Programs, Program Records
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
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.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2019, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
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.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2019, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
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.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2019, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
Smith College: The New Labor History and the New England Working Class Symposium, 1979
Container:
Box 3 of 8
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 94-092, National Museum of American History. Office of the Assistant Director for Academic Programs, Program Records
"Anti-Fascist Demonstration / New York City - 1934." 5" x 4" copy negative, untrimmed. Crowd and prominent sign: "Industrial Unionism Spells Greater Working Class Power." Adequate exposure and focus
Notebook contains journal entries with thoughts on teaching for the first time and his student's work, class planning, exhibit planning for Without Ground, notes on his performance pieces, sketches of figures, portraits, doodles, logo design for a catering company, thoughts on Edmonton trip, among others.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Thursday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection 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 users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, 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.
Collection Citation:
Identification of specific item; Date (if known); Kimowan Metchewais [McLain] Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
1 Sound recording ((1 data disk DVD-R digital, 24-bit 96kHz WAV. )))
1 Sound recording ((1 sound cassette (00:27:25)))
Container:
Box 2, Tape 37
Type:
Archival materials
Sound recordings
Scope and Contents note:
An interview of Harold Ricker conducted in 1975 for the Anacostia Oral History Project through the Center for Anacostia Studies and the Anacostia Community Museum.; Harold Ricker recalls life in Anacostia as he was growing up, from public schools like Ketchum and Birney schools to community organizations like churches and Anacostia Lodge. Ricker also talks about the racial makeup of the neighborhood and the occupations held by its residents, which were mostly government or working class jobs.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Citation:
Anacostia Oral History Project, Anacostia Community Museum Archives, Smithsonian Institution
Fifty years ago / Joe Glazer (2:35) -- Babies in the mill / Dorsey Dixon (2:41) -- The ghosts of Bay View / Larry Penn (2:00) -- Saturday night / Darryl Holter (3:32) -- Frozen in time (3:11) ; So long partner (1:18) ; Willie the scab (2:14) / Larry Penn -- Which side are you on / Florence Reece (2:23) -- Cowboy days / Larry Penn & tradition (4:40) -- The wreck of the Carl D. Bradley / Larry Penn (5:07) -- Love and the shorter work week / Darryl Holter (1:37) -- Putting the blame / Tom Juravich (2:21) -- So long it's been good to know ya / Woody Guthrie ; additional lyrics by Darryl Holter (3:26) -- Union maid / Woody Guthrie (2:46).
Track Information:
101 Fifty Years Ago / Larry Penn, Darryl Holter. Guitar.
102 Babies in the Mill / Larry Penn, Darryl Holter. Guitar.
103 Ghosts of Bay View / Larry Penn, Darryl Holter. Guitar.
104 Saturday Night / Larry Penn, Darryl Holter. Guitar.
105 Frozen In Time / Larry Penn, Darryl Holter. Guitar.
106 So Long Partner / Larry Penn, Darryl Holter. Guitar.
107 Willie the Scab / Larry Penn, Darryl Holter. Guitar.
108 Which Side Are You On / Larry Penn, Darryl Holter. Guitar.
109 Cowboy Days / Larry Penn, Darryl Holter. Guitar.
110 Wreck of the Carl D. Bradley / Larry Penn, Darryl Holter. Guitar.
111 Love and the Shorter Work Week / Larry Penn, Darryl Holter. Guitar.
112 Putting the Blame / Larry Penn, Darryl Holter. Guitar.
113 So Long It's Been Good to Know Ya / Larry Penn, Darryl Holter. Guitar.
114 Union Maid / Larry Penn, Darryl Holter. Guitar.
Local Numbers:
FP-COLL-CT-1948-7
Collector.1948
Publication, Distribution, Etc. (Imprint):
Silver Spring, MD Collector 1989
General:
Commercial
booklet donated by Darryl Holter, 10/09. Cookie Man Music: C-M-LHS (in booklet: CM-WHS). Originally released on cassette (Collector Records 1948-C) in 1989. Compact disc. Accompanied by song lyrics and short historical narratives for each song ([32] p. : ill. ; 21 cm.). The history of the struggles of workers in Wisconsin, is replete with examples of outrageous working conditions and violence directed towards strikers, countered by the courage and determination of the union workers, often strikers. This history is chronicled by Larry Penn and Darryl Holter singing songs of their own composition, as well as songs by Woody Guthrie and others. Joe Glazer said of Larry Penn: "[He] is walking in the footsteps of Joe Hill and Woody Guthrie." However, Larry (born in 1941) did not always aspire to be a folk musician. A truck driver for 40 years, he started playing folk music after stumbling upon an old Lead Belly recording. Darryl Holter, originally from Minneapolis, first became a union organizer while a student at the University of Minnesota. He is still musically active - a CD he recorded in 2010 was reviewed in SingOut magazine.
Restrictions:
Restrictions on access. Listening only. No Duplication Allowed.
Collection Rights:
Copyright restrictions apply. Contact archives staff for information.
Brumbaugh, Thomas B. (Thomas Brendle), 1921- Search this
Extent:
10 Items (Letters, written in ink, ball point, graphite, typewritter)
Type:
Archival materials
Correspondence
Date:
1941-1970
Scope and Contents:
This collection is an amalgamation of letters written and recieved by prominent figures in 19th and 20th century American art. Included in this folder are letters between the collector, Thomas Brumbaugh, and various artists, including American playwright and writer Oliver Wolcott Gibbs, mural artist Barry Faulkner, and Louis Hardin.
Arrangement:
Organized chronologically.
Biographical / Historical:
Beginning in his youth Thomas Brumbaugh collected autographed correspondence. Mr. Brumbaugh's collecting instincts resulted in a unique collaborative collection providing a glimpse into the lives of a variety of 19th and 20th century American artists, such as Abbott Thayer. Brumbaugh was a professor of fine arts at Vanderbilt University in Nashville, and author of many articles on American art and artists.
Oliver Wolcott Gibbs was an American playwright and writer who lived in New York City. He wrote for The New Yorker and worked as a humorist and theatre critic. Gibbs was a direct descendent of President Martin Van Buren.
Barry Faulkner was an American artist who studied with Abbott H. Thayer, George de Forest Brush, and Augustus Saint-Gaudens. Along with sculptor Sherry Edmundson Fry, Faulkner organized artists to train as camouflage specialists. Faulkner was born in New Hampshire, traveled to Europe as he studied art, and then returned to New York, where he began work as a mural artist. He completed "The Constitution" and "The Declaration" in 1936 for the Rotunda for the Charters of Freedom at the National Archives.
Isaac Soyer was a social realist painter from New York City who used working-class and unemployed people as the subjects in his paintings. He also painted portraits for friends, and used his friends and family as models for his work.
Louis Hardin, commonly known as "Moondog," was a blind American composer and poet who lived on the streets of New York for a large portion of his life. He wore clothes inspired by the Norse god Thor, giving him the epithet, "The Viking of 6th Avenue." Moondog was influenced by ambient noises in his environment, and Native American music.
Henry Rox was a German artist who studied in Berlin and Paris before settling in the United States in 1938, where he taught at many universities, including Mount Holyoke College. He is known for fruit and vegetable photo-sculptures.
Ibram Lassaw was an American sculptor in the 20th century. Born in Egypt to Russian parents, Lassaw grew up in Brooklyn, New York. He was influenced by Alexander Calder and Wassily Kandinsky. Lassaw created open-space sculptural abstractions with metal, and helped abstract art grow in the United States.
Harry Rosin was an American sculptor born in Philadelphia, Pennsylvania. After working around the area following his studies at the Pennsylvania Academy of Fine Arts, he traveled to Tahiti, where he married his wife. He is known for his iron sculptures.
Local Numbers:
FSA A2009.06 3
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
(postcard of Jiméz' art; clippings; photocopies from catalogs; catalogs; press releases; activity book for children, Laguna Gloria Art Museum, Austin Texas, 1983; catalog, Luis Jimémez: Working-Class Heroes: Images from the Popular Culture, Exhibits USA, Kansas City, Missouri, 1997; catalog, Man on Fire: Luis Jiménez, Albuquerque Museum, Albuquerque, New Mexico, 1994)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Alan Ribback accompanied by Norris McNamara and Jo Ann Bowman
Interview from MO 1.3 continued
-1961 riots in Monroe, Mississippi
-Police intimidation/fears
-Working class must organize
-Monroe meetings
-School segregation strike, march
-Non-violence is not always the best method
-Organized violence as a response to organized violence (police)
-Bourgeois revolution – should be a proletariat revolution
-Communist label
-Develop Negro leadership
Group of young poeple
"Ain't Gonna Let Nobody Turn Me Around"
"Keep Your Eyes on the Prize"
"Freedom's Coming and it Won't Go Home"
"I See Freedom in the Air"
Collection Restrictions:
Collection is open for research. Reference copies must be used. Tapes noted in the container list have digital reference copies in the Smithsonian Institution Digital Asset Management System (DAMS).
Collection Rights:
Collection items available for reproduction, but copyright status unknown. Contact Archives Center staff for additional information. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Moses Moon Civil Rights Movement Audio Collection, 1963-1964, Archives Center, National Museum of American History, Smithsonian Institution.
Sponsor:
Partial funding for preservation and duplication of the original audio tapes provided by a National Museum of American History Collections Committee Jackson Fund Preservation Grant.
