Banding Together: School Bands as Instruments of Opportunity Exhibition Records
Names:
Public Schools of the District of Columbia Search this
Extent:
1.5 Linear feet (2 box; digital files)
Type:
Collection descriptions
Archival materials
Portraits
Place:
Washington (D.C.)
Date:
1925-2006
Summary:
An exhibition on the history, community impact, and support of instrumental music education in Washington, D.C. public schools from the 1880s to 2006. The exhibit focuses on the development of junior and senior high school cadet (military) bands and their evolution into the popular marching and show band programs today. The exhibit was organized by the Anacostia Community Museum in collaboration with Community Help In Music Education and held from September 10, 2006 to May 14, 2007. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, newspaper clippings, articles, original documentary photographs, and brochures.
Scope and Contents:
The records of the exhibition Banding Together measure 2 linear feet and date from 1925 to 2006 (bulk dates 1970 to 2006). The records include administrative records, research files, floor plans, exhibit texts, oral histories, transcripts, and project files.
Administrative records include correspondence, meeting minutes, project outline, list of potential artifacts, concept statement, and contact lists.
Research files contain articles, clippings, and photocopies pertaining to school bands in the District of Columbia, and high school music education in general, as well as articles on the following Washington, DC schools: Anacostia, Ballou, Cardozo, Dunbar, Eastern, and Howard D. Woodson.
Oral history interviews contain compact discs, transcripts and indexes of interviews conducted with high school band directors.
Exhibit files include floor plan layouts, photocopies of images and artifacts, brochures, object list, and scripts.
Photograph files include original documentation of school band parades, portraits of band directors, school band uniforms and instruments, and photocopies of images borrowed for the exhibition.
Provenance:
Records of Banding Together: School Bands as Instruments of Opportunity Exhibition were created by the Anacostia Community Museum.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Organization of Independent Artists (New York, N.Y.) Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1980
Summary:
The papers of a painter and curator Rhea Sanders measure 0.2 linear feet and date from 1980. Papers consist of a scrapbook documenting an exhibition curated by Sanders with the Organization of Independent Artists entitled Who Am I?: a Self Portrait Show (1980). Included are biographical materials about exhibiting artists, correspondence, photographs of the exhibition's opening, and printed material.
Scope and Contents:
The papers of a painter and curator Rhea Sanders measure 0.2 linear feet and date from 1980. Papers consist of a scrapbook documenting an exhibition curated by Sanders with the Organization of Independent Artists entitled Who Am I?: a Self Portrait Show (1980). Included are biographical materials about exhibiting artists, correspondence, photographs of the exhibition's opening, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Rhea Sanders (1923-2020) was a painter and curator in New York City, New York. She curated an exhibition with the Organization of Independent Artists in 1980 entitled Who Am I?: A Self Portrait Show.
Provenance:
Donated 1982 by Rhea Sanders.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Curators -- New York (State) -- New York Search this
The Byron Browne papers measure 2.1 linear feet and date from 1920-1979 and document the life and work of Byron Browne through biographical materials, correspondence, personal business records, printed materials, photographic materials, and artwork.
Scope and Contents:
The Byron Browne papers measure 2.1 linear feet and date from 1920-1979. Biographical materials include documents regarding tributes to Browne after his death and his career, a self-portrait, and film with recorded audio. Correspondence is with friends, artists, and family members and consists mainly of holiday and sympathy cards addressed to Rosalind, the majority dating after Browne's death. Correspondence regarding art donations by Rosalind and other professional activities as well as documents regarding Browne's time spent teaching for the Art Students League of New York and New York University are included. Other financial documents relating to his art expenses and newspaper and magazine clippings are present. Various exhibition announcements are present, as are photographs of both Browne and his artwork.
Arrangement:
This collection is arranged in 6 series:
Series 1: Biographical Materials, Biographical Materials, 1960-1973 (0.4 Linear feet: Box 1, OV 4, FC03, FC04)
Series 2: Correspondence,1952-1979 (0.7 Linear feet: Box 1)
Series 3: Personal Business Records, 1930-1977 (0.3 Linear feet: Box 1)
Series 4: Printed Materials, 1920-1979 (0.3 Linear feet: Box 2, OV 6)
Series 5: Photographic Materials, 1920-1979 (0.2 Linear feet: Boxes 2-3)
Series 6: Artwork, 1930-1969 (0.2 Linear feet: Box 3, OV 5)
Biographical / Historical:
Byron Browne (1907-1961) was born in Yonkers, New York on June 26, 1907, as George Byron Browne and was a painter, sculptor, and educator in New York City. He helped found the American Abstract Artists, an organization centered in New York that was devoted to exhibiting abstract art, with his wife Rosalind Bengelsdorf and Balcomb Greene in 1935. Browne specialized in still life in the Synthetic Cubism style and was influenced by his friends John Graham, Arshile Gorky, and Willem de Kooning. By the 1950s Browne migrated to creating more romantic imagery. Browne started his early career as an academic artist and won numerous awards at the National Academy including the Third Hallgarten Prize for still-life composition. His career consisted of creating murals under the Works Progress Administration for the Chronic Disease Hospital and the 1939 New York World's Fair. He also taught painting at the Art Students League of New York from 1948 to 1959 and went on to then teach at New York University. A survivor of the Great Depression, Browne would continue to struggle to sell art beyond the 1930s, when his most notable work was created. Browne's work is represented at over eighty permanent art museum collections. Browne died on December 25, 1961, in New York City at age 54.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Rosalind Bengelsdorf conducted by Irving Sandler in 1968 and the Rosalind Bengelsdorf Browne papers.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 97 and NBB 1-NBB 2) including correspondence, clippings, receipts, contracts, sketches and descriptions related to mural
commissions. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Papers were lent for microfilming in 1963 and 1978 by Rosalind Bengelsdorf Browne.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Byron Browne papers, circa 1920-1979. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of Detroit art gallery Arwin Galleries measure 8.7 linear feet and date from 1948 to 1981. The collection comprises administrative records including sales, a financial ledger of artists' account consignment and loan records; personal and professional correspondence; artist files for Chuang Chi, Richard Kozlow, Ben and Bernarda Bryson Shahn, Jo Snyder, Russel Thayer, Adja Yunkers, and others; printed materials documenting the 1963 fire at the gallery, exhibitions, and other activities related to the gallery; artwork by Frederick Simper, Donald Snydor, and a few others; and photographic materials and moving images including photos of the Arwins, gallery artists, and exhibitions, and two film reels relating to the gallery fire.
Scope and Contents:
The records of Detroit art gallery Arwin Galleries measure 8.7 linear feet and date from 1948 to 1981. The collection comprises administrative records containing sales records, consignment and loan records, appraisals, framing and graphics orders, a financial ledger of artists' accounts, and other administrative documents; personal and professional correspondence; artist's files for Chuang Chi, Richard Kozlow, Ben and Bernarda Bryson Shahn, Jo Snyder, Russel Thayer, Adja Yunkers, and others; printed materials documenting the 1963 fire at the gallery, exhibitions, and other articles related to the gallery; artwork by Frederick Simper, Donald Snydor, and a few others; and photographic materials and moving images include portraits and candid shots of the Arwins, gallery installations and openings, artists, works of art, and two film reels relating to the fire at the gallery.
Arrangement:
The collection is arranged as six series.
Series 1: Administrative Records, 1959-1981 (2.5 linear feet; Boxes 1-3, 13, OV 11)
Series 2: Correspondence, 1958-1981 (0.4 linear feet; Box 3)
Series 3: Artist's Files, 1948-1981 (4.0 linear feet; Boxes 3-7, 13, OV 11)
Series 4: Printed Materials, 1956-1981 (0.4 linear feet; Boxes 7-8, OV 11)
Series 5: Artwork, circa 1970s (0.2 linear feet; Box 3)
Series 6: Photographic Materials and Moving Images, circa 1950-1981 (0.8 linear feet; Box 3, FC 12)
Biographical / Historical:
The Arwin Galleries (est. 1963-1981) was founded by Lester and Kathleen (Kitty) Arwin in Detroit, Michigan.
Although intending to move to Chicago in the 1930s, Lester Arwin found himself remaining in Detroit due to lack of funds. There he spent time observing Diego Rivera painting the murals at the Detroit Institute of Art. He also visited Rivera's studio and purchased his first piece of artwork, thus beginning his career as an art collector and dealer. Arwin served as director of Grinnell Art Galleries prior to opening his own business.
In 1963, Lester and his wife Kitty opened the Arwin Galleries, specializing in contemporary art, in Robinsons Furniture Store on Washington Boulevard. A fire at the gallery in 1963 destroyed approximately $300,000 worth of artwork, including works by Picasso with an estimated value of $150,000. The Arwin Galleries reopened at W. Grand River in 1965. The Arwins worked closely with many renowned artists such as Richard Kozlow, Ben Shahn, and numerous others.
Lester and Kitty Arwin died in 1981.
Provenance:
The Arwin Galleries records were donated in 1981, 1984 and 2021 by Melanie Arwin, the daughter of Lester and Kathleen Arwin.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. 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.
Arwin Galleries records, 1948-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for processing the bulk of this collection was provided by the Smithsonian Women's Committee. A small portion of the collection was processed with funding provided by the Smithsonian Collections Care and Preservation Fund.
