The papers of painter Jerome Caja measure 7.9 linear feet and date from circa 1920 to 1995. The papers document his career as an artist in San Francisco through biographical material; correspondence with family, friends, art organizations, and galleries; poetry, prose, and other writings; exhbiition announcements, newspaper and magazine clippings, and other printed materials, gallery and exhibition files; artwork, including sketchbooks and numerous small paintings, sketches and drawings, photographs; audiovisual materials including film reels, vido and audio cassettes.
Scope and Contents:
The papers of painter Jerome Caja measure 7.9 linear feet and date from circa 1920 to 1995. The papers document his career as an artist in San Francisco through biographical material; correspondence with family, friends, art organizations, and galleries; poetry, prose, and other writings; exhbiition announcements, newspaper and magazine clippings, and other printed materials, gallery and exhibition files; artwork, including sketchbooks and numerous small paintings, sketches and drawings, photographs; audiovisual materials including film reels, vido and audio cassettes.
Biographical Material includes a family history, a short autobiography, school documents from elementary through college, yearbooks, identifications and certificates. Correspondence includes letters numerous letters from parents, letters from some brothers, and letters from friends. Writings consist primarily of short plays and skits by Caja, prose and poetry, a journal, and writings by friends. Gallery and Exhibition Files consist of correspondence, inventory and price lists, exhibition announcements and catalogs, and contracts from museums and galleries where Caja did exhibitions or auctions. Personal Business Records consist of price lists, invoices, receipts for works he sold to individuals or institutions. Printed Materials consist of newspaper and magazine clippings detailing Caja's exhibition or his involvement in the gay scene of San Francisco. There are also books with inscriptions that were given to Caja by friends, and there are publication materials that belonged to Caja.
Artwork primarily consists of numerous small drawings and sketches in ink, chalk, and nail polish. Also included are sketchbooks of Caja's drawings and oversized paintings and sketches. Photographs primarily consist of personal photos of Caja and his family during his childhood, photos of his grand parents and geat grandparents, and photos of nieces and nephews. There are also photos and slides of his ceramic work and some of his paintings and sketches. The majority of the photos are of Caja taking part in various events around San Francisco. Audio-Visual Materials consists of video cassettes, audio cassettes, and motion picture reels. Videos document Caja reading his book, Caja taking part in events in San Francisco, his artwork, and a movie that he was featured in. Audio cassettes consist primarily of music, but also of Caja reading stories. Film material consists of people working in an artist's workshop, a pool party, and a satirical narrative between children and their mother.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, 1949-1994 (0.4 linear feet; Box 1)
Series 2: Correspondence, 1980-1995 (0.5 linear feet; Box 1)
Series 3: Writings, circa 1980-1995 (0.3 linear feet; Box 1-2)
Series 4: Gallery and Exhibition Files, 1982-1995 (0.4 linear feet; Box 2)
Series 5: Personal Business Records, 1990-1995 (0.2 linear feet; Box 2)
Series 6: Printed Material, 1960-1995 (1.3 linear feet; Box 2-3, Box 9)
Series 7: Artwork, circa 1980-1995 (1.7 linear feet: Box 4-5, Box 9, OV 13-15, Artifact)
Series 8: Photographs, circa 1920-1995 (1.8 linear feet; Box 5-6, Box 9, OV 14)
Series 9: Audio-Visual Material circa 1980-1995 (1.4 linear feet; Box 7-8, FC 16-23)
Biographical / Historical:
Jerome Caja (1958-1995) was a painter who worked primarily in San Francisco, CA. Caja was born in Ohio in 1958 and attended Clevaland State University. He moved to San Francisco in the 1980s and attended the San Francisco Art Institute from which he graduated in 1984. Caja pushed the boundaries of gender, performance, and art in the nightclub scene in San Francisco during the late 1980s and early 1990s. Caja died from complications related to HIV in 1995, during height of the AIDS-Art-Activism era in San Francisco.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Jerome Caja conducted by Paul Karlstrom, August 23-September 29, 1995, and Letters from Jerome Caja to Anna van der Meulen, 1995.
Provenance:
The Jerome Caja papers were donated in two installments from 1994 to 1995. The first installment was donated by Jerome Caja in 1994, and the second installment was donated by Anna van der Meulen, executor of Caja's estate, in 1995.
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 -- California -- San Francisco Search this
Jerome Caja papers, circa 1920-1995. 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.
Visual Arts and the AIDS Epidemic: An Oral History Project Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Frederick Weston, 2016 August 31-September 5. Archives of American Art, Smithsonian Institution.
Netherlands -- Amsterdam -- Description and Travel
New York (N.Y.) -- Description and Travel
Tanzania -- Description and Travel
Date:
2017 March 27-29
Scope and Contents:
An interview with Lyle Ashton Harris, conducted 2017 March 27 and 29, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Harris's studio and home in New York, New York.
Harris speaks of his childhood in the Bronx; his family's influence on his race-consciousness; living in Tanzania for two years as a child and the effects on his understanding of race and sexuality; his grandfather's extensive photographic archive; contact with the South African diaspora through his step-father; attending Wesleyan University; formative experiences in London, Amsterdam, and New York in the mid-1980s; his education and development as a photographer; attending CalArts and encountering West Coast AIDS activism; encountering systemic racism in Los Angeles; close friendships with Marlon Riggs and Essex Hemphill; exhibitions of his work in New York in the early 1990s; the production of his Ektachrome Archive and his impulse to photograph daily life; his work on the Black Community AIDS Research and Education (Black C.A.R.E.) project in Los Angeles; participating in the Whitney Museum's Independent Study Program; being diagnosed with HIV and remaining asymptomatic; attending the Dia Black Popular Culture Conference in 1992; photographing and mounting "The Good Life" in 1994 and "The Watering Hole" in 1996; issues of blackness and queerness in his photographic work; his residency at the American Academy in Rome in 2000; moving to Accra, Ghana for seven years in 2005; his pedagogy as an art professor; his thoughts on the lack of voices of color in the Visual Arts and the AIDS Epidemic Oral History Project and in the larger power structures of the art world; and his hope that his artistic legacy will be evaluated in its proper context. Harris also recalls Jackie and Robert O'Meally, Jay Seeley, Ellen O'Dench, Francesca Woodman, Jean-Michel Basquiat, Jim Collier, Robert Mapplethorpe, Allan Sekula, Hazel Carby, Isaac Julien, Catherine Lord, Millie Wilson, Todd Gray, John Grayson, Tommy Gear, Marlon Riggs, Essex Hemphill, Felix Gonzalez-Torres, Nancy Barton, Vickie Mays, Connie Butler, Greg Tate, Henry Louis Gates, Houston Baker, Nan Goldin, Jack Tilton, Simon Watson, and others.
Biographical / Historical:
Lyle Ashton Harris (1965- ) is an artist who works in video, photography, and performance in New York, New York. Alex Fialho (1989- ) is a curator and arts writer and works as Programs Director for Visual AIDS in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Performance artists -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
Video artists -- New York (State) -- New York Search this
An interview with Charles Atlas conducted 2016 May 31-June 1, by Linda Yablonsky, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Atlas' home and studio.
Biographical / Historical:
Charles M. Atlas (1949- ) is a video artist, film director, and lighting and set designer in New York, New York. Linda Yablonsky (1948- ) is a writer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
For information on how to access this interview contact Reference Services.
ACCESS RESTRICTED; Use requires written permission.
Occupation:
Set designers -- New York (State) -- New York Search this
Video artists -- New York (State) -- New York Search this
An interview with Frederick Weston, conducted 2016 August 31 and September 5, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Weston's home in New York, N.Y.
Weston speaks of his childhood in Detroit; early understandings of his gender; attending Ferris State University in Michigan; moving to New York in 1973; New York nightclub culture before the AIDS crisis; studying at FIT and working in the fashion industry; beginning to consider himself an artist in the late 1990s after years of collage work in street settings; being diagnosed with HIV in the mid-1990s; imbuing his art with his personal experience; his body of work in photography, installations, and poetry; his health care and regiment since being diagnosed with HIV; evolutions in his personal outlook since being diagnosed; the trajectory of his sex life from adolescence; moving into his current apartment in Chelsea; and reflections on America's racial situation. Weston also recalls Claude Payne, Apollonia, Billy Blair, Stephanie Crawford, Franz Renard Smith, Dr. Joseph Sonnabend, Bruce Benderson, and others.
Biographical / Historical:
Interviewee Frederick Weston (1946- ) is a multimedia artist in New York, N.Y. Interviewer Theodore Kerr (1979- ) is a writer and organizer in New York, N.Y.
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.
Color portrait of Ryan White on trading card, from a series of AIDS Awareness cards.
Arrangement:
Box No. 11.
Biographical / Historical:
One of those personalities depicted is Ryan White, a young man with hemophilia. Born in Kokomo, Indiana in 1971, White caught HIV through contaminated blood products. He was diagnosed with AIDS in 1985. He became a vocal and visible symbol of AIDS. Through his illness he became friends with Elton John and Michael Jackson, among others. He died of AIDS in 1990. The Ryan White Comprehensive AIDS Resources Emergency (CARE) Act of 1990 was named for him. On verso: "He was taunted and ostracized at school and was finally expelled. Neighbors pelted the Whites' car, and a bullet was fired into their home. Fleeing Kokomo, the family moved to nearby Cicero, where they were welcomed, and Ryan attended school for the rest of his short life."
Local Numbers:
AC1146-0000061.tif (AC Scan No.)
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Quotes and excerpts must be cited as follows: Oral history interview with Julie Tolentino, 2018 April 11-12. Archives of American Art, Smithsonian Institution.
An interview with Julie Tolentino conducted 2018 April 11 and 12, by Alex Fialho, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at a friend's apartment in the East Village, New York.
Tolentino speaks of her childhood in San Francisco; her family dynamics, including caring for her sister with developmental disabilities; Harvey Milk's assassination; early exposure to dance and art-making; early exposure to queer nightlife; briefly pursuing dance training in Los Angeles after high school; soon thereafter moving to New York; volunteering for the National Gay and Lesbian Suicide Hotline; her involvement with ACT UP; experiences of AIDS-related grief; her close friendships during this time; continuing her dance education and performance practice in the late '80s and '90s; founding and operating the Clit Club; changes in the landscape of queerness during the '90s; managing the performance companies of David Roussève and Ron Athey; the beginning of her solo practice with Mestiza-Que Ojos Bonitos Tienes; the installation Marks of My Civilization; the beginning of ART+; her role in Madonna's book Sex; her reflections on the visibility of her body; developing the Lesbian AIDS Project's Safer Sex Handbook; her performance works For You, Sky Remains the Same, and Honey; her video work evidence; and her awareness of the past's construction and meaning in the present. Tolentino also recalls Page Hodel, Doug McDowell, Maxine Wolfe, Ann Northrup, David Robinson, Ray Navarro, Aldo Hernandez, Anthony Ledesma, Lola Flash, Catherine Gund, Zoe Leonard, Robert Garcia, Jocelyn Taylor, Martina Yamin, Cookie Mueller, Diamanda Galas, D.M. Machuca, Pigpen, John Lovett, Alessandro Codagnone, John Killacky, Lia Gangitano, Alistair Fate, Steven Meisel, Cythia Madansky, Kim Christensen, Kate Clinton, Lori Seid, Ori Flomin, Abigail Severance, and others.
Biographical / Historical:
Julie Tolentino (1964- ) is a visual and performance artist in New York and Josua Tree, California. Alex Fialho (1989- ) is a curator and arts writer who is the Programs Director for Visual AIDS in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Restrictions:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Occupation:
Performance artists -- New York (State) -- New York Search this
The Teriananda Papers contain writings authored by Teriananda, as well as various position papers, news articles, flyers, correspondence, and group newsletters that represent the political activities she participated in on behalf of Native American and other Indigenous peoples.
Scope and Contents:
This collection, from the 1970s to the 1990s, is comprised of published and unpublished writings by Teriananda, as well as letters, reports, newspaper and magazine articles, group newsletters, flyers and announcements of political events, and news releases. The issues represented here, including support work for "The Longest Walk," the campaign for justice for Leonard Peltier, and the Big Mountain relocation are indicative of the concerns in parts of Indian Country in the United States and elsewhere during these decades.
Arrangement:
The Teriananda papers are arranged into two series:
Series I: Writings (1978-1991)
Series II: Political Activities (undated; 1972-1996)
Biographical / Historical:
Teriananda was born in Manhattan in 1947, where she grew up and has continued to live throughout her adult life. Teriananda's father, born in Brooklyn, became a financial officer and independent scholar, her mother, born in British Guiana (now Guyana), was a classical pianist who immigrated to the United States and later became an editorial assistant, working part-time during Teriananda's childhood. Her parents instilled in Teriananda a belief that she was "a citizen of the world." She studied ballet as a youngster, and, as a teenager, immersed herself in the artistic and intellectual milieu of the Lower East Side and Greenwich Village. An improperly diagnosed back injury while she was a senior in high school resulted in severe back problems in the 1970s that have persisted throughout her life.
Teriananda became interested in Indigenous struggles in the 1970s following a "back crisis" that almost took her life yet proved to be psychically transformative. In seeking to know who she was, she realized she needed to know where she was, and this led her to ask who the original inhabitants of the continent were. She soon became involved in activist struggles for Indigenous rights, and worked with a number of Native American groups during the 1970s and 1980s, including, among other things, the International Treaty Council's attempts to found the U.N.'s permanent Working Group on Indigenous People, support for Yvonne Wanrow and Leonard Peltier, the issue of uranium contamination from mining on Native American land, and the problem of the Joint Land Use Area near Big Mountain on the Hopi and Navajo reservations.
Teriananda also worked on issues surrounding the AIDS crisis after the death of several friends from this disease. She had become familiar with the possibilities of natural medicines, partly through contact with traditional Native teachers, and she became active promoting the benefits of nutritional, herbal and other natural therapies to sufferers of AIDS. As Teriananda's own health issues persisted and worsened, she turned to Tibetan Buddhism, and has devoted herself to artistic pursuits influenced by this spiritual path, although she has worked artistically since the early 1970s, when she stopped dancing. Although she has cut back on her activism, due to health problems and family demands, Teriananda remains a committed political activist who stays informed of current issues and is determined to pass on the heritage of struggles for peace and justice to the next generation.
Provenance:
Donated to the National Museum of the American Indian Archives by Teriananda in March 2003
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish materials from the collection must be requested from the NMAI Archivist. The Archives has no information on the status of literary rights for the work of others found in these papers; researchers are responsible for determining any question of copyright.
Topic:
Indians of North America -- Civil rights Search this
Indians of North America -- Relocation Search this
Identification of specific item; Date (if known); Teriananda papers, Box and Folder Number; National Museum of the American Indian Archives, Smithsonian Institution.
The Priscilla Reining papers, 1916-2007, primarily document the professional life of Reining, a social anthropologist and Africanist who worked for the American Association for the Advancement of Science (AAAS) from 1974 to 1989. Her area of specialty was sub-Saharan Africa, specializing in desertification, land tenure, land use, kinship, population, fertility, and HIV/AIDS. During the 1970s, she pioneered the use of satellite imagery in conjunction with ethnographic data. She is also known for her ground-breaking research in the late 1980s that showed that uncircumcised men were more susceptible to contracting HIV/AIDS than circumcised men.
The collection contains correspondence, field research, research files, writings, day planners, teaching files, student files,
photographs, maps, sound recordings, and electronic records. Reining's research files, particularly on the Red Lake Ojibwa, the Haya, HIV/AIDS, and satellite imagery, form a significant portion of the collection.
Scope and Contents:
These papers primarily document the professional life of Priscilla Reining. The collection contains correspondence, field research, research files, writings, day planners, teaching files, student files, photographs, maps, sound recordings, and electronic records.
Reining's research files, particularly on the Red Lake Ojibwa, the Haya, HIV/AIDS, and satellite imagery, form a significant portion of the collection. Her consultancy work is also well-represented, as well as her involvement in a large number of professional organizations. The collection also contains a great deal of material relating to her work on different programs and projects at AAAS, including the Committee on Arid Lands, Ethnography of Reproduction Project, and Cultural Factors in Population Programs. Also present in the collection are materials from her time as Urgent Anthropology Program Coordinator at the Smithsonian Institution, her files as an instructor and professor, and her files as a student at University of Chicago. Materials from her personal life can also be found in the collection, such as correspondence and childhood mementos.
Arrangement:
The Priscilla Reining papers are organized in 13 series: 1. Correspondence, 1944-2007; 2. Research, 1955-1970; 3. AAAS, 1971-1990; 4. Professional Activities, 5. 1957-2007; Daily Planners and Notebooks, 1960-2002; 6. Writings, 1952-1996; 7. Smithsonian Institution, 1964-1971; 8. University, 1958-1994; 9. Student, 1937-1975; 10. Biographical and Personal Files, 1934-2004; 11. Maps, 1916-1989, undated; 12. Photographs, circa 1950-1987, undated; 13. Electronic records.
Biographical / Historical:
Priscilla Copeland Reining was a social anthropologist and Africanist who worked for the American Association for the Advancement of Science (AAAS) from 1974 to 1989. Her area of specialty was sub-Saharan Africa, specializing in desertification, land tenure, land use, kinship, population, fertility, and HIV/AIDS. During the 1970s, she pioneered the use of satellite imagery in conjunction with ethnographic data. She is also known for her ground-breaking research in the late 1980s that showed that uncircumcised men were more susceptible to contracting HIV/AIDS than circumcised men.
Reining was born on March 11, 1923 in Chicago, Illinois. She studied anthropology at University of Chicago, where she earned both her A.B. (1945) and Ph.D. (1967) in anthropology. During her graduate studies, she studied peer group relations among the Ojibwa of the Red Lake Indian Reservation in Minnesota (1947, 1950-51). Her husband, Conrad Reining, accompanied her to the field, an experience that inspired him to also become an anthropologist.
In 1951-53 and 1954-55, Reining conducted fieldwork among the Haya of Bukoba District, Tanganyika (now known as Tanzania) as a Fellow of the East African Institute of Social Research. While research for her dissertation focused on the agrarian system of the Haya, Reining also conducted fertility surveys for the East African Medical Survey, studying the relationship between STDs and fertility in Buhaya and Buganda. During the 1980s, Reining became interested in AIDS when she observed that the Haya were dying from the disease at a much higher rate than neighboring groups. When she learned of a possible link between circumcision and the spread of HIV, she drew a map of circumcision practice among the ethnic groups of Africa and found that uncircumcised men were 86% more likely to contract HIV than circumcised men. These results were published in "The Relationship Between Male Circumcision and HIV Infection in African Populations" (1989), which she coauthored with John Bongaarts, Peter Way, and Francis Conant.
Beginning in the 1970s, Reining began exploring the use of satellite imagery in ethnographic research. In 1973, she used Landsat data to identify individual Mali villages, the first use of satellite data in anthropology (Morán 1990). That same year, as a consultant for USAID, she also used ERTS-1 imagery to estimate carrying capacity in Niger and Upper Volta (now known as Burkino Faso). She continued to apply satellite data in her research throughout her career, including in 1993, when she returned to Tanzania to study the environmental consequence of population growth and HIV/AIDS among the Haya.
In 1974, Reining joined the Office of International Science of AAAS as a research associate. She stayed on to become Project Director for the Cultural Factors in Population Programs and to direct a number of projects under the Committee on Arid Lands. She also served as Project Director of the Ethnography of Reproduction project, for which she conducted fieldwork in Kenya in 1976. In 1990, she left AAAS for an appointment as Courtesy Professor of African Studies at University of Florida.
Prior to working for AAAS, Reining worked at the Smithsonian Institution (1966, 1968-70), during which she was the coordinator for the Urgent Anthropology Program in the now defunct Center for the Study of Man. She also taught at University of Minnesota (1956-59), American University (1959-60), and Howard University (1960-64). In addition, she worked as a consultant for various organizations, including Department of Justice, Peace Corps, International Bank for Reconstruction & Development (IBRD), Food and Agriculture Organization, and Carrying Capacity Network.
Reining was also actively involved in various organizations. She served as Secretary of the AAAS Section H (Anthropology) and was a founding member of the American Anthropological Association (AAA) Task Force on AIDS. She was also a fellow of the African Studies Association, AAA, AAAS, East African Academy, Society for Applied Anthropology, and Washington Academy of Science. In 1990, she was honored with a Distinguished Service Award from AAA.
Reining died of lung cancer at the age of 84 on July 19, 2007.
Sources Consulted
PR Vita. Series 10. Biographical and Personal Files. Priscilla Reining Papers. National Anthropological Archives, Smithsonian Institution
Morán, Emilio F. 2000. The Ecosystem Approach in Anthropology: From Concept to Practice. Ann Arbor: University of Michigan. Page 359
Schudel, Matt. 2007. Anthropologist Broke Ground on AIDS, Satellite Mapping. Washington Post, July 29. http://www.washingtonpost.com/wp-dyn/content/article/2007/07/28/AR2007072801190.html (accessed December 8, 2011).
1923 -- Born March 11 in Chicago, Illinois
1944 -- Marries Conrad C. Reining
1945 -- Earns A.B. from University of Chicago
1947, 1950-51 -- Conducts field research on the Ojibwa of Red Lake Indian Reservation in Minnesota.
1949 -- Earns A.M. from University of Chicago
1951-1953, 1954-1955 -- Field research on Haya of Tanzania
1967 -- Earns Ph.D. from University of Chicago
1972 -- Returns to Tanzania for IBRD consultancy work
1974 -- Begins working at AAAS as a research associate in the Office of International Science
1975 -- Project Director, AAAS
1976 -- Field research on Kikuyu of Kenya for Ethnography of Reproduction
1986-89 -- Program Director, AAAS
1990 -- Courtesy Professor of African Studies at University of Florida Receives Distinguished Service Award from AAA
1993 -- Field research in Tanzania studying environmental consequences of population growth and HIV/AIDS among the Haya
2007 -- Dies of lung cancer at the age of 84 on July 19
Related Materials:
Additional materials at the NAA relating to Priscilla Reining can be found in the papers of Gordon Gibson and John Murra, as well as in the records of the Center for the Study of Man and the records of the Department of Anthropology. Photo Lot 97 contains two Haya photos taken by Reining that are not duplicated in this collection. The papers of her husband, Conrad Reining, are also at the NAA.
The archives of the American Association for the Advancement of Science also holds Reining's papers relating to her work for the organization.
Provenance:
These papers were donated to the National Anthropological Archives by Priscilla Reining's sons, Robert Reining and Conrad Reining, in 2009.
Restrictions:
The Priscilla Reining papers are open for research.
Some materials from the East African Medical Survey and Ethnography of Reproduction project contain personal medical history and are thus restricted. Grant applications sent to Reining to review are also restricted as well as her students' grades, and recommendation letters Reining wrote for her students. Electronic records are also restricted.
A small portion of the materials relating to Reining's Haya research, Ethnography of Reproduction project, and IBRD ujamaa research suffered severe mold damage. These materials have been cleaned and may be accessed. The legibility of some of the documents, however, is limited due to water and mold stains. Mold odor is also still present.
Oral history interview with Jim Hodges, conducted 2017 March 9 and May 25, by Cynthia Carr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Hodges' studio in Queens, New York.
Hodges speaks of his childhood in Spokane, Washington; exposure to art-making in high school and at Fort Wright College; attending Pratt Institute in 1983; his first New York gallery job in 1984; discovering his sexuality and becoming interested in queer life and history; the early years of the AIDS crisis; taking a studio with the Dannheisser Foundation; his body of work in mixed media; his gallery exhibitions in the late 1980s and early '90s; becoming sober in 1990; and the influence of the AIDS crisis on his artwork and art-making process. Hodges also recalls Karen Kaiser, Scott Smith, Marnie Fuller, Davie Nyzio, Lynn McCarty, Robert Vallenciano, Bob Morris, Linda Montano, Joseph Nechvatal, Rhys Chatham, Nancy Hoffman, Hunter Reynolds, Tony Feher, Bill Arning, Felix Gonzalez-Torres, Doug Safranek, and others.
Biographical / Historical:
Jim Hodges (1957- ) is an installation artist in New York, New York. Cynthia Carr (1950- ) is a writer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview with Julie Ault conducted 2017 November 14 and 16, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at a studio in Brooklyn, New York.
Ault speaks of the nature of memory and giving an oral history; her skepticism of linear narratives; leaving rural Maine for Washington, DC at age 17; her family history; her interest in popular culture and commercial culture as a teenager; disco and nightclubs in Washington and New York in the late 1970's; working a variety of day jobs in New York, including a telephone answering service; meeting Tim Rollins for the first time in Maine; her interest in conversation; her relationship to questions; the formation of Group Material in 1979; her relationship with Andres Serrano; Group Material's collaborative dynamic, and its effect on her personal development; the complexities of trying to write or tell history; the shifting configurations and contexts of Group Material over 17 years of activity; mounting, and thinking critically about, individual exhibitions after Group Material; the first AIDS Timeline in 1989; the ephemerality of the Timeline; book projects as a means of depositing personal memories; her first memories of the AIDS crisis beginning in 1983; Group Material's Democracy and AIDS series at Dia in 1988; investigating the tension between art and activism in the context of HIV/AIDS; Karen Ramspacher's entry and contributions to Group Material; the initial decision to employ the form of a timeline and four arenas of research; different audience relationships and reactions to the Timeline; the collaborative process of creating the Timeline; losing NEA funding after the Timeline, amid the early '90s culture wars; Group Material's second exhibition of AIDS Timeline in 1990; her friendship with Felix Gonzalez-Torres; Group Material's third exhibition of AIDS Timeline in 1991; the Macho Man, Tell It To My Heart exhibition; and an acknowledgement of topics that could not be covered in the interview. Ault also recalls Doug Ashford, Vikky Alexander, Yolanda Hawkins, Mundy McLaughlin, Sarat Maharaj, Gertrud Sandqvist, Marybeth Nelson, Patrick Brennan, Hannah Alderfer, Peter Szypula, Sabrina Locks, Larry Rinder, Richard Meyer, Bill Olander, Marcia Tucker, Gary Garrels, Charles Wright, Frank Wagner, Martin Beck, Nayland Blake, Anne Pasternak, Mary Anne Staniszewski, John Lindell, Tom Kalin, Donald Moffett, Marlene McCarty, Jochen Klein, Lisa Phillips, Andrea Miller-Keller, Steven Evans, and others.
Biographical / Historical:
Julie Ault (1957- ) is an artist, writer, and curator in New York, New York. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Authors -- New York (State) -- New York Search this
Curators -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Joy Episalla, 2016 February 23 and March 17. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Carrie Yamaoka, 2016 July 26-27. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Zoe Leonard, 2017 May 31-July 7. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Nancy Brooks Brody, 2018 January 12-28. Archives of American Art, Smithsonian Institution.
Mobilization Against AIDS. (San Francisco (CA)) Search this
Extent:
10.2 Cubic feet (32 boxes)
Type:
Collection descriptions
Archival materials
Oral history
Interviews
Date:
1901-2016
bulk 1995-1999
Summary:
John-Manuel Andriote interviewed numerous individuals involved in the AIDS crisis for his book, Victory Deferred: how AIDS changed gay life in America, this collection contains his interview tapes, transcripts, and materials related to the research, writing, and update of his book. It also contains interview transcripts for Andriote's later book, Stonewall Strong.
Scope and Contents:
The collection consists of interviews and research material collected by Andriote in researching his book, Victory Deferred: how AIDS changed gay life in America, published in 1999. Included are recorded and transcribed interviews Andriote conducted with activists, researchers, authors, and others involved in the fight against HIV and AIDS. The creator's original order and topic designations were maintained; span dates reflect the dates of the materials contained within the folder. All cassettes are ninety minutes in length unless otherwise noted. An addenda of interviews notebooks for interviews conducted in 2010 for the revised and updated version of Victory Deferred were added in 2021. Series four contains interview transcripts and master cd for interviews conducted for Andriote's Stonewall Strong published in 2017.
Arrangement:
Collection is arranged into three series.
Series 1, Audio Materials
Subseries 1, Original Interview Audio Cassettes, 1995-1997
Subseries 2, Transcripts of Interviews, 1993-1996, undated
Series 2, Victory Deferred Correspondence, Manuscript Drafts, Publication Material, and Writings, 1982-2008
Series 3, Research Notes and Collected Reference Materials, 1901-1998
Subseries 1, National AIDS Network (NAN), 1987-1990
Subseries 2, Publications, 1989-1997
Series 4, Stonewall Strong, interview transcripts and CD, 2015-2016, undated
Biographical / Historical:
John-Manuel Andriote writes in the preface to his book, Victory Deferred: how AIDS changed gay life in America, "I wrote Victory Deferred because, despite the abundance of books written about AIDS, no one until now has examined both the 'big picture' and its finer detail in considering the many ways AIDS affected the nation's hardest hit community, gay men." [1] To do this Andriote interviewed hundreds of persons involved in various aspects of the HIV/AIDS experience.
The University of Chicago Press catalog for 1999 describes the book this way: "John-Manuel Andriote chronicles the impact of the disease from the coming-out revelry of the 1970s to the post-AIDS gay community of the 1990s, showing how it has changed both individual lives and national organizations." [2]
[1] Andriote, John-Manuel, Victory Deferred: how AIDS changed gay life in America, page xi, Chicago, Illinois: The University of Chicago Press, 1999.
[2] "Spring Books 1999 The University of Chicago Press", pg. 2, Chicago, IL: The University of Chicago Press, 1999
Related Materials:
Materials in the Archives Center
Michio and Aveline Kushi Macro-Biotics Collection (AC0619)
The Shamrock Bar: Photographs and Interviews, 1997-2003 (AC0857
Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)
Archives Center Weddings Documentation Collection, 1945-2008 (AC1131)
John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)
Provenance:
This collection was donated by John-Manuel Andriote in 2008. Addenda donated in 2021.
Restrictions:
The collection is open for research use.
Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special aarrangement with Archives Center staff. Do not use original materials when available on reference video or audio tapes.
Rights:
Collection items available for reproduction, but copyright held by donor. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
AC1128-0000001.tif (AC Scan No.: front of dust-jacket)
Collection Restrictions:
The collection is open for research use.
Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special aarrangement with Archives Center staff. Do not use original materials when available on reference video or audio tapes.
Collection Rights:
Collection items available for reproduction, but copyright held by donor. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
