Search Results

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-04-21T16:43:49.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_ftPwWuQ-IUI

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-04-21T17:21:17.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_sSHvXOHGC7o

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-04-21T17:22:23.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_sWyLnYGSKwc

Creator:

Archives of American Art  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2020-05-29T13:50:15.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

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SmithsonianAAA

Data Source:

Archives of American Art

YouTube Channel:

SmithsonianAAA

EDAN-URL:

edanmdm:yt_L_FBSufR1EQ

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2013-01-28T14:32:51.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

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SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_Mm5vamup76E

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2013-01-28T14:50:04.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

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SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_bqsq6Q8R4TI

Creator:

Camp, Kimberly, 1956-  Search this

Subject:

Barnes Foundation  Search this

Charles H. Wright Museum of African American History  Search this

Type:

Interviews

Sketchbooks

Sound recordings

Video recordings

Citation:

Kimberly Camp papers, 1970-2016. Archives of American Art, Smithsonian Institution.

Topic:

African American artists  Search this

Women artists  Search this

Theme:

African American  Search this

Art organizations  Search this

Record number:

(DSI-AAA_CollID)17357

(DSI-AAA_SIRISBib)380896

AAA_collcode_campkimb

Theme:

African American

Art organizations

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_380896

Creator:

Reed, Robert, 1938-2014  Search this

Names:

Albers, Josef  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1961-2020

Scope and Contents:

The papers of artist and teacher Robert Reed measure 3.4 linear feet and date from 1960-2020. The collection documents Reed's extensive career as an exhibition artist as well as his teaching activities. The latter includes over four decades at the Yale School of Art. The papers include extensive printed material such as rare catalogs, gallery cards, and exhibition mailers. There is also correspondence from students and peers in the art world, notably including painter Philip Guston. At the beginning of his career, Reed was tasked by Josef Albers with mixing colors and creating color plates for Albers' book Interaction of Color, Yale University Press, 1963. Some of these tests are included in the papers, along with a transcription of Reed's interview by the Albers Foundation.

Biographical / Historical:

Robert Reed (1938-2014) was a painter and educator in New Haven, Conn.­ Reed was especially influential in the history of abstraction and African American art in the twentieth century.

Provenance:

Donated in 2022 by Susan Whetstone, Robert Reed's widow and by Dr. Lisabeth Jordan and Mark A. Reed, Robert Reed's children.

Restrictions:

Test plates made by Reed at the request of Josef Albers for Albers' book Interaction of Color are access restricted; written permission is required. Contact Reference Services for more information. 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 -- Connecticut -- New Haven  Search this

Educators -- Connecticut -- New Haven  Search this

Topic:

African American artists  Search this

Identifier:

AAA.reedrobe

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b46191f-a69d-4af4-aeef-b0cc9e43aaf4

EDAN-URL:

ead_collection:sova-aaa-reedrobe

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2020-02-09T00:32:31.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_XMjaL11vpXE

Creator:

Smithsonian Institution Archives  Search this

Type:

YouTube Videos

Uploaded:

2021-02-22T20:22:21.000Z

YouTube Category:

Education  Search this

Topic:

Museum administration  Search this

See more by:

SIArchives

Data Source:

Smithsonian Institution Archives

YouTube Channel:

SIArchives

EDAN-URL:

edanmdm:yt_5DW-tV_ZY1g

Interviewee:

Loper, Edward L., 1916-2011  Search this

Interviewer:

Pacini, Marina  Search this

Names:

Barnes Foundation  Search this

Carlen Galleries  Search this

Index of American Design  Search this

United States. Work Projects Administration.Art Program  Search this

Barnes, Albert C. (Albert Coombs), 1872-1951  Search this

De Mazia, Violette, 1899-  Search this

Pippin, Horace, 1888-1946  Search this

Extent:

132 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1989 May 12

Scope and Contents:

An interview of Edward Loper conducted 1989 May 12, by Marina Pacini, for the Archives of American Art. Loper speaks of his early life and education; his work on the WPA's Federal Art Project in Delaware, on the Index of American Design and the easel project; his self-education and stylistic development; meeting Albert Barnes; studying with Violette De Mazia at the Barnes Foundation; meeting Horace Pippin; his exhibition history and his affiliation with various galleries, including the Carlen Galleries; his teaching career; his experiences as an African American artist; the art scene in Wilmington.

Biographical / Historical:

Edward L. Loper (1916-2011) was a painter and instructor of Wilmington, Del.

General:

Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 3 hrs., 33 min.

Provenance:

This interview is part of the Archives' 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 others.

Restrictions:

Transcript: Patrons must use microfilm copy.

Occupation:

Painters -- Delaware -- Wilmington  Search this

Educators -- Delaware -- Wilmington  Search this

Topic:

African American artists  Search this

African American painters  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.loper89

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93e2a1d70-3066-4b22-bfc3-a2b7940efd8f

EDAN-URL:

ead_collection:sova-aaa-loper89

Creator:

Gilliam, Sam, 1933-2022  Search this

Names:

Carl Solway Gallery  Search this

Philadelphia Museum of Art  Search this

Studio Museum in Harlem  Search this

Andrews, Benny, 1930-2006  Search this

Driskell, David C.  Search this

Gilliam, Dorothy Butler, 1936-  Search this

Krebs, Rockne, 1938-2011  Search this

Mondale, Walter F., 1928-  Search this

Extent:

7.9 Linear feet

7.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Scrapbooks

Sketches

Sound recordings

Date:

1957-1989

1957-1989

Summary:

The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation from the 1960s through the 1980s, and particularly showcases the planning and creation of Gilliam's large-scale three-dimensional paintings, often associated with the Washington Color School.

Scope and Contents:

The papers of contemporary Color Field painter and educator Sam Gilliam measure 7.9 linear feet and date from 1957 to 1989. The papers include biographical material, correspondence, writings, business records, printed material, subject files, a scrapbook, artwork, and photographic material that document Gilliam's life beginning as a student, through to his teaching, professorial, and artistic career based in Washington D.C. The collection highlights Gilliam's close involvement with the art institutions, racial politics, and artistic innovation from the 1960s through the 1980s, and particularly showcases the planning and creation of Gilliam's large-scale three-dimensional paintings, often associated with the Washington Color School.

Biographical material includes résumés, passports, exhibition lists, artists' statements and essays, interview transcripts and recordings. Also included are audio recordings of conversations between Sam Gilliam and artist Benny Andrews, between Gilliam and artist Rockne Krebs, as well as recordings of a 1968 interview conducted by Dorothy Gilliam.

Correspondence spans over 20 years and includes letters to and from museums and galleries such as the Philadelphia Museum of Art, the Studio Museum in Harlem, Carl Solway Gallery, collectors, artists including David Driskell, friends, family, students, and fans.

Writings include notes, statements, and essays by and about Gilliam, writings by university students of Gilliam, and writings related to Gilliam's artwork and public commissions including measurements for artworks, material research, and information regarding prints created for the private home of Walter Mondale.

Business records primarily include the daily records of activities kept by Sam and Dorothy Gilliam's secretary, Debby, from 1973 to 1978. Also present are resumes for a studio assistant for Gilliam, certificates of originality, legal documents, receipts and invoices, a record of donated paintings, financial records, ledgers, contracts, records and paperwork for the Gilliam's company Enterprise 101, and miscellany.

Printed materials include photocopies, exhibition announcements, magazines, and clippings regarding exhibitions, specific artworks, and commissions, and Gilliam and/or his then-wife, Dorothy Gilliam.

The subject file series contains letters, photographic material, business records, sketches, and printed materials concerning specific galleries, public art commissions, arts organizations, workshops, teaching positions, Gilliam's studio, art suppliers, and other topics.

A disbound scrapbook contains photographs, notes, and printed material related to Gilliam and his studio practice.

The artwork series includes sketches, personal notes, and small preparatory drawings by Gilliam.

Photographic material includes negatives, slides, and transparencies of artworks, Gilliam in his studio, and Gilliam and staff preparing museum and gallery exhibition spaces. Also included are records of student artwork, and photos and slides of artwork sent to Gilliam by students and aspiring artists.

Arrangement:

This collection is arranged as 9 series.

Series 1: Biographical Material, 1958-1988, (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1965-1989, (Boxes 1-2; 0.6 linear feet)

Series 3: Writings, 1962-1988, (Box 2; 0.4 linear feet)

Series 4: Business Records, 1957-1986, (Boxes 2-3; 1.0 linear foot)

Series 5: Printed Material, 1962-1987, (Boxes 3-4; 1.0 linear foot)

Series 6: Subject Files, 1963-1988, (Boxes 4-7; 2.2 linear feet)

Series 7: Scrapbook, 1958-1968, (Box 7; 0.2 linear feet)

Series 8: Artwork, 1970-1980, undated, (Boxes 7-9; 0.4 linear feet)

Series 9: Photographic Material, 1960-1985, (Boxes 8-9; 0.3 linear feet)

Biographical / Historical:

Sam Gilliam (1933-2022) was an African American artist based in Washington, D.C. He was born in Tupelo, Mississippi, and raised in Louisville, Kentucky, where he began painting as a child, eventually attending the University of Louisville where he received his B.A. in Fine Art and M.A. in Painting. He went on to teach art to high school students in the Washington D.C. public school system, and university-level students at the Corcoran School of Art, the Maryland Institute College of Art (MICA), the University of Maryland, and Carnegie Mellon University. His numerous grants and awards include the 1971 Solomon Guggenheim Memorial Foundation Fellowship and multiple Honorary Doctoral degrees.

As an artist, Gilliam is best known for his three-dimensional draped and suspended paintings, covered with large fields of poured paint, pigment, and colorful staining influenced by the movement and colors of Abstract Expressionist painters. He created many public works that incorporated new materials such as custom designed metal forms, quilted canvas, and textiles; his works often included subtle social commentaries through their titling. His suspended paintings cemented Gilliam as an innovative and influential presence in 20th century American art.

Related Materials:

Also found in the Archives of American Art are two oral history interviews with Sam Gilliam, one conducted by Kenneth Young, September 18, 1984, and the other by Ben Forgey, November 4-11, 1989.

Provenance:

The Sam Gilliam papers were donated to the Archives of American Art by Sam Gilliam in 1989.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.

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:

Educators -- Washington (D.C.)  Search this

Painters -- Washington (D.C.)  Search this

Topic:

Art -- Study and teaching  Search this

Color-field painting  Search this

Painting, Modern -- 20th century -- Washington (D.C.)  Search this

Washington Color School (Group of artists)  Search this

African American artists  Search this

African American educators  Search this

African American painters  Search this

Genre/Form:

Interviews

Scrapbooks

Sketches

Sound recordings

Citation:

Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.gillsam

See more items in:

Sam Gilliam papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90b5177ef-7a80-48b3-bcdb-3f1f74d21b5c

EDAN-URL:

ead_collection:sova-aaa-gillsam

Collection Creator:

Gilliam, Sam, 1933-2022  Search this

Extent:

1 Linear foot (Boxes 3-4)

Type:

Archival materials

Date:

1962-1987

Scope and Contents:

Printed materials include photocopies, exhibition announcements, magazines, and newspaper clippings regarding museum openings, personal profiles on Gilliam and Dorothy Gilliam, materials related to Gilliam serving on the jury for the National Council on the Arts fellowship, his public art commissions, specific artworks such as Autumn Surf, his appearance at the Venice Biennale, receipt of the Guggenheim and National Endowment for the Arts fellowships, as well as exhibition press for Gilliam and other African-American artists including Lou Stovall.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote, or reproduce requires written permission from Sam Gilliam. Contact Reference Services for more information.

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:

Sam Gilliam papers, 1957-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.gillsam, Series 5

See more items in:

Sam Gilliam papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw992970a83-ceee-4ddb-bcfe-adce308125ee

EDAN-URL:

ead_component:sova-aaa-gillsam-ref5

Interviewee:

Weston, Frederick, 1946-2020  Search this

Interviewer:

Kerr, Theodore, 1979-  Search this

Subject:

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.

Topic:

AIDS (Disease) and the arts  Search this

Artists -- New York (State) -- New York -- Interviews  Search this

Multimedia (Art)  Search this

African American artists  Search this

Theme:

African American  Search this

Record number:

(DSI-AAA_CollID)17387

(DSI-AAA_SIRISBib)382893

AAA_collcode_weston16

Theme:

African American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_382893

Creator:

Thompson, Bob, 1937-1966  Search this

Names:

Billiard Place  Search this

David Anerson Gallery  Search this

Donald Morris Gallery  Search this

Sluggs Jazz Club  Search this

The Billard Palace  Search this

Whitney Museum of American Art  Search this

Baraka, Amiri, 1934-2014  Search this

Beskind, Dorothy Levitt  Search this

Bridwell, Margaret  Search this

Covi, Dario A.  Search this

Crodel, Charles, 1894-1973  Search this

Cruz, Emilio, 1938-  Search this

Ginsberg, Allen, 1926-1997  Search this

Martin, Mary, 1913-  Search this

May, Mary Spencer  Search this

Ratcliff, Carter  Search this

Schapiro, Meyer, 1904-  Search this

Spellman, A. B., 1935-  Search this

Thompson, Bessie  Search this

Thompson, Carol  Search this

Wilke, Ulfert, 1907-1987  Search this

Wilson, Judith, 1952-  Search this

Young, Kenneth, 1933-  Search this

Extent:

2 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Photographs

Date:

1949-2005

Summary:

The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Scope and Contents:

The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Biographical material includes certificates, school memorabilia, biographical chronologies, a memorial program and obituaries, and a transcript of "Bob Thompson: His Life and Friendships" panel discussion with several notable artists commenting on Thompson. There is also a video recording copy of a 1965 film by Dorothy Levitt Beskind titled Bob Thompson Happening which was made to accompany a 1999 exhibition at the Whitney Museum of Art.

Carol Thompson's correspondence is with various galleries, dealers, and friends primarily concerning Bob Thompson's artwork and posthumous exhibitions. There is correspondence with art historian Judith Wilson, the artist's mother Bessie Thompson, David Anderson Gallery, and Donald Morris Gallery.

Writings by Bob Thompson include church speeches, a letter to the editor of Louisville Courier Journal, a poem, and an artist statement. There are also writings about Thompson by others, including his mother Bessie Thompson, wife Carol Thompson, and artists and friends, including Margaret Bridwell, Dario Covi, Carl Crodel, Emilio Cruz, Allen Ginsberg, LeRoi Jones, Mary H. Martin, Mary Spencer May, Carter Ratcliff, Meyer Schapiro, A. B. Spellman, Ulfert Wilke, and Ken Young. The writings by friends are mostly in the form of recollections by friends that were gathered as a memorial tribute to Thompson.

Exhibition files consist of material related to posthumous group and solo exhibitions of Bob Thompson's work.

The majority of the personal business records are posthumous and include inventories, loan and consignment forms, sales and appraisal records, and scattered correspondence.

Printed material includes exhibition catalogs, magazine and newspaper clippings about Bob Thompson, blank postcards of artwork, posters, and press releases.

There are photographs of Bob Thompson, family, and friends, including many artists, shot in various locations in New York City and Provincetown, as well as in Spain, France, and Italy. There are images of Thompson's Rivington Street studio, the Billiard Palace and the Slugs Jazz Club in New York City, exhibitions, events, street scenes, and artwork. There are four photographs albums, one of the Thompson's wedding, two of exhibitions (one is disbound), and one personal album with many photographs of friends and family, including the artist's mother Bessie Thompson and wife Carol Thompson.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1953-2003 (0.2 linear feet; Box 1)

Series 2: Carol Thompson's Correspondence, 1971-2000 (0.1 linear feet; Box 1)

Series 3: Writings, 1949-1998 (0.1 linear feet; Box 1)

Series 4: Exhibition Files, 1978-2001 (0.1 linear feet; Box 1)

Series 5: Personal Business Records, 1965-2001 (0.1 linear feet; Box 1)

Series 6: Printed Material, 1960-2005 (0.7 linear feet; Boxes 1-2, 4, OV 5)

Series 7: Photographs, 1951-2000 (0.7 linear feet; Boxes 2-4)

Biographical / Historical:

Bob Thompson (1937-1966) was an African American figurative painter who worked primarily in New York City.

Thompson was born in Louisville, Kentucky in 1937. He attended Boston University as a pre-med student, but quit the program and returned to Kentucky to attend the University of Louisville and study painting under German expressionist artist Ulfert Wilke. As a student, he spent a summer in Provincetown, Massachusetts and immersed himself in the art communities there. In 1958, Thompson moved to New York City and reunited with several artists he had met in Provincetown and participated in some of the earliest "happenings," somewhat informal art events or gatherings usually involving performance art and music, in 1960. He became a regular at the jazz clubs The Five Spot and Slugs and became friends with several jazz musicians. Many of Thompson's paintings reflect his interest in jazz. He also formed friendships with writers Allen Ginsberg and LeRoi Jones. In 1960, he had his first solo exhibition at the Delancy Street Museum.

The same year as his first solo exhibition, Thompson married Carol Plenda and the couple lived in Paris from 1961-1962 after he received a Whitney Foundation fellowship. They lived in Ibiza, Spain the following year. Thompson painted prolifically while abroad, and when he returned to New York City in 1963, he brought many paintings with him. He quickly found representation by Martha Jackson Gallery and the gallery featured Thompson's work in solo exhibitions in 1963-1965. His reputation grew and more exhibitions across the country followed.

In late 1965, Thompson and his wife traveled to Rome, Italy, where he continued to study art and paint. Thompson died in Rome in 1966 at the age of 28 from a drug overdose not long after receiving gall bladder surgery.

Provenance:

The collection was donated by Elaine Plenda, the artist's sister-in-law, in 2006, 2010, 2011, and 2012.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of video recording requires advance notice. Contact Reference Services for more information.

Rights:

"Bob Thompson Happening" (1965) video: Permission to publish, quote or reproduce requires written permission from Joanne Elkin. Contact Reference Services for more information.

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

Topic:

African American artists  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Video recordings

Photographs

Citation:

Bob Thompson papers, 1949-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.thombob

See more items in:

Bob Thompson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95cbba908-2706-4ba6-8bb0-58c271c29d62

EDAN-URL:

ead_collection:sova-aaa-thombob

Creator:

Starr, Nina Howell, 1903-2000  Search this

Names:

International Women's Art Festival  Search this

Museum of American Folk Art  Search this

Photographic Historical Society of New York  Search this

Professional Women's Photographers, Inc.  Search this

Sharon Arts Center  Search this

Southern Regional Council  Search this

Brandt, Helene, 1936-  Search this

Cohen, Stephenie  Search this

Coke, Van Deren, 1921-  Search this

Connor, Linda  Search this

Daitz, Evelyne Z.  Search this

DiSpirito, Henry, 1898-1995  Search this

Evans, Minnie, 1892-  Search this

Evans, Walker, 1903-1975  Search this

Ghent, Henri, 1926-  Search this

Kanaga, Consuelo, 1894-  Search this

Kernan, Margo, 1927-  Search this

Kruger, Louise, 1924-  Search this

Lippard, Lucy R.  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Mainardi, Patricia  Search this

Morgan, Barbara Brooks, 1900-1992  Search this

Putnam, Wallace, 1899-1989  Search this

Ringgold, Faith  Search this

Rose, Ruth Starr, 1887-1965  Search this

Savage, Naomi, 1927-2005  Search this

Sherwood, Maggie, 1922-1984  Search this

Siskind, Aaron  Search this

Strand, Paul, 1890-1976  Search this

Szarwarski, John  Search this

Uelsmann, Jerry, 1934-  Search this

Extent:

21.2 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Interviews

Drawings

Sketches

Transcripts

Sound recordings

Prints

Date:

circa 1933-1996

Summary:

The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Scope and Contents:

The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Biographical materials are scattered and include grant and publication applications, curriculum vitae, lists of artwork, and miscellany.

Starr's lectures, writings, and project files are arranged into one series. They include Starr's student writings, a notebook about Civil Rights, files documenting her work on a Florida public housing project, the Southern Regional Council, and the League of Women Voters. A few files of general writings and lectures mostly concern folk artist Minnie Evans and the exhibition Women Photograph Men, held at the International Women's Arts Festival in 1976.

Subject files on artists, art history topics, photographers and photography (including Starr's work), and on folk artist and friend Minne Evans comprise the bulk of the collection. The files are a mix of collated materials and primary sources created by Starr and others and many contain correspondence, notes, photographs, and a few sketches and orginal prints. Also included are materials related to professional and organizational groups in which Starr was involved, including the Professional Women's Photographers, Inc., the Photographic Historical Society of New York, and the Museum of American Folk Art; files on several of Starr's exhibitions; and files on artists that contain printed materials, correspondence, and photographs. The file on Ruth Starr Rose contains prints and drawings. There are also photographs taken by Stephanie Cohen. Particularly rich files are found for Stephanie Cohen; Van Deren Coke, Director of the George Eastman Company; Evelyn Daitz, Director of the Witkin Gallery; Henry DiSpirito; Walker Evans; the Fotofolio printing company; curator Henri Ghent; photographer Consuelo Kanaga and husband Wallace Putnam; Margot Starr Kernan; Lucy Lippard; Stanton Mac-Donald Wright; Sharon Arts Center; photographer Paul Strand; curator John Szarwarski; and photographer Jerry Uelsman.

The collection also documents the friendship between painter Minnie Evans and Starr, and Starr's business dealings on Evans' behalf. There is correspondence about and with Evans, several sound recordings of interviews conducted by Starr and others with Evans, many with transcripts, financial documents, publications about Evans including exhibition catalogs, clippings, journal articles and monographs, two posters, a scrapbook, and one sketch by Evans.

Printed material includes published articles, exhibition catalogs and announcements, and clippings about Starr.

Photographic materials are extensive and include photographs and slides taken by Starr of friends, family, artwork by Minnie Evans, events, exhibition openings, world travels, and folk art, especially roadside. Prominent artists and art historians photographed include: photographers Maggie Sherwood, Naomi Savage, Barbara Morgan, Linda Connor, Aaron Siskind, Consuelo Kanaga, Faith Ringgold, and Walker Evans; sculptors Louise Kruger and Helene Brandt; feminist and art historian Pat Mainardi; and curators Henri Ghent and John Szarkowski. Starr's artistic photographic work is also represented, and includes two silver gelatin prints of Minnie Evans, and subject studies on hands, people, and nature, among others.

Arrangement:

The collection is arranged as 6 series.

Missing Title

Series 1: Biographical material, 1954-circa 1990 (8 folders; Box 1)

Series 2: Writings, Speeches and Projects, 1933-1995 (1.1 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1939-1996 (8.3 linear feet; Boxes 2-10)

Series 4: Minnie Evans, 1962-1996 (3.7 linear feet; Boxes 10-13, 23, OV 24)

Series 5: Printed Material, 1936-1995 (2.7 linear feet; Boxes 13-16, 23)

Series 6: Photographic Material, circa 1939-1993 (5.4 linear feet; Boxes 16-23, OV 24)

Biographical / Historical:

Nina Howell Starr (1903-2000) was a photographer, art dealer, and art historian who worked primarily in New York City. Born in Newark, New Jersey in 1903 as Cornelia Margaret Howell, Starr attended Wellesley College and graduated from Barnard in 1926. Also in 1926, she married Nathan Comfort Starr, an English professor, and, over the years the couple lived in Massachusetts, Maryland, Florida, and New York City.

In 1963, at the age of 60, Starr received the first M.F.A. in photography granted by the University of Florida. Starr exhibited widely in both solo and group exhibitions, including Magic Lantern (Photographer's Gallery, London, 1976), and the Strength of Women (Witken Gallery, 1991), and numerous shows featuring photographs of outsider art. Her "New Yorker" project became an exhibition in 2016. Her work is owned by several prominent museums, including the Metropolitan Museum of Art and the George Eastman House International Museum of Photography.

As art historian, self-proclaimed critic, and civil rights and feminist advocate, Starr lectured widely, wrote articles and letters to editors, and corresponded with many notable art world figures. She became especially interested in outsider and folk art. Starr met outsider artist Minnie Evans in 1962 and became Evans' lifelong friend, advocate, and representative dealer. She wrote about Evans and introduced Evans' works to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated an exhibition of Evans' work in 1975.

Starr was an active member of professional organizations including the Photographic Historical Society of New York, Professional Women's Photographers, Inc., and the Museum of American Folk Art where she served on the Advisory Committee.

Nina Howell Starr died in 2000 in Connecticut at the age of 97.

Provenance:

The Nina Howell Starr papers were donated by Nina Howell Starr in 1996.

Restrictions:

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.

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:

Art historians -- New York (State) -- New York  Search this

Photographers -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Topic:

Folk art  Search this

Civil rights  Search this

African American art  Search this

Folk art -- Photographs  Search this

Women photographers  Search this

Photography  Search this

African American artists  Search this

Genre/Form:

Scrapbooks

Photographs

Interviews

Drawings

Sketches

Transcripts

Sound recordings

Prints

Citation:

Nina Howell Starr papers, circa 1933-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian's Collections Care and Preservation Fund.

Identifier:

AAA.starnina

See more items in:

Nina Howell Starr papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9dccd352c-b391-49d6-ae20-8b00e1e280d3

EDAN-URL:

ead_collection:sova-aaa-starnina

Interviewee:

Harris, Lyle Ashton, 1965-  Search this

Interviewer:

Fialho, Alex, 1989-  Search this

Names:

American Academy in Rome -- Students  Search this

California Institute of the Arts -- Students  Search this

Visual Arts and the AIDS Epidemic: An Oral History Project  Search this

Wesleyan University (Middletown, Conn.) -- Students  Search this

Whitney Museum of American Art  Search this

Baker, Houston A., Jr., 1943-  Search this

Barton, Nancy, (Artist)  Search this

Basquiat, Jean-Michel, 1960-1988  Search this

Butler, Cornelia H.  Search this

Carby, Hazel V.  Search this

Collier, Jim  Search this

Gates, Henry Louis, Jr.  Search this

Geer, Tommy  Search this

Goldin, Nan, 1953-  Search this

Gonzalez-Torres, Felix, 1957-1996  Search this

Gray, Todd, 1954-  Search this

Grayson, John, 1943-  Search this

Hemphill, Essex  Search this

Julien, Isaac  Search this

Lord, Catherine, 1949-  Search this

Mapplethorpe, Robert  Search this

Mays, Vickie M.  Search this

O'Dench, Ellen  Search this

O'Meally, Jackie  Search this

O'Meally, Robert G., 1948-  Search this

Riggs, Marlon T.  Search this

Seeley, J.  Search this

Sekula, Allan  Search this

Tate, Greg  Search this

Tilton, Jack  Search this

Watson, Simon  Search this

Wilson, Millie  Search this

Woodman, Francesca, 1958-1981  Search this

Extent:

6 Items (Sound recording: 6 sound files (8 hr., 6 min.), digital, wav)

95 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Place:

England -- London -- Description and Travel

Ghana -- Description and Travel

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

Topic:

AIDS activists  Search this

AIDS (Disease) and the arts  Search this

Racism  Search this

African American artists  Search this

Artists (LGBTQ)  Search this

Gay artists  Search this

African American art -- African influences  Search this

African American educators  Search this

African American photographers  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funded by the Keith Haring Foundation.

Identifier:

AAA.harris17

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9559d7597-04b4-4644-b6ae-bca2bdb27f88

EDAN-URL:

ead_collection:sova-aaa-harris17

Interviewee:

Weston, Frederick, 1946-2020  Search this

Interviewer:

Kerr, Theodore  Search this

Names:

Visual Arts and the AIDS Epidemic: An Oral History Project  Search this

Extent:

4 Items (sound files (5 hrs., 28 min.), digital, wav)

130 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2016 August 31-September 5

Scope and Contents:

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.

Topic:

AIDS (Disease) and the arts  Search this

Artists -- New York (State) -- New York -- Interviews  Search this

Multimedia (Art)  Search this

African American artists  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funded by the Keith Haring Foundation.

Identifier:

AAA.weston16

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9621d1dde-6c2a-4ea5-a26d-967b128fc504

EDAN-URL:

ead_collection:sova-aaa-weston16

Creator:

Hills, Patricia  Search this

Names:

Women's Caucus for Art  Search this

Johnson, Eastman, 1824-1906  Search this

Lawrence, Jacob, 1917-2000  Search this

Neel, Alice, 1900-1984  Search this

Sargent, John Singer, 1856-1925  Search this

Stevens, May  Search this

Extent:

46.7 Linear feet

2.19 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

circa 1900-2022

bulk 1968-2009

Summary:

The papers of art historian, curator, and educator Patricia Hills measure 46.7 linear feet and 2.19 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, Eastman Johnson, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some of this material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.

Scope and Contents:

The papers of art historian, curator, and educator Patricia Hills measure 46.7 linear feet and 2.19 GB and date from circa 1900-2022, bulk 1968-2009. Central to this collection are project files documenting professional work that resulted in lectures, publications, exhibitions, art history courses on numerous artists including Alice Neel, Jacob Lawrence, May Stevens, Rudolf Baranik, Eastman Johnson, and John Singer Sargent. These files and files documenting Hills's tenure at the Whitney Museum of American Art include planning documents, research files, correspondence, manuscripts and accompanying publications, as well as other printed materials. Some material is in digital format. The collection also contains correspondence with art historians, artists, curators, and others, notably Lawrence Alloway, Lowery Stokes Sims, Lucy R. Lippard, T.J. Clark, Leon Golub, and Donald Kuspit; professional files documenting grants and residencies awarded and consulting work; artist and subject files; other writings; and printed and digital material. Membership and affiliation records document Hills' service to the profession, including Women's Caucus for Art and the Visual Culture/Art History Caucus of the American Studies Association.

Arrangement:

The collection is arranged as 12 series.

Series 1: Correspondence, circa 1958-2019 (2.6 Linear Feet; Boxes 1-2, 25)

Series 2: Project Files, circa 1900-2011 (15.2 Linear Feet; Boxes 3-13, 25-30, 41-50, OV24, 2.11 GB; ER01-ER02, ER06-ER09)

Series 3: Whitney Museum Files, circa 1900-2015, bulk 1973-1987 (4.1 Linear Feet; Boxes 13-16, 30)

Series 4: Boston University Files, circa 1974-2015 (1.3 linear feet; Boxes 30-31)

Series 5: Professional Files, circa 1959-2019 (2.4 linear feet; Boxes 17-18, 32)

Series 6: Membership and Affiliation Records, circa 1969-2013 (2 linear feet; Boxes 18-20, 32)

Series 7: Museum of Fine Arts Restructuring Files, circa 1997-2005 (1.2 linear feet; Boxes 32-33)

Series 8: Writings, circa 1962-2019 (5.4 linear feet; Boxes 20-21, 34-38, 0.068 GB; ER03, ER05)

Series 9: Teaching Files, circa 1974-2019 (0.9 linear feet; Box 39)

Series 10: Artist Files, circa 1958-2014 (0.9 Linear Feet; Box 21)

Series 11: Subject Files, circa 1961-2007 (1.0 linear Feet; Box 22, 0.004 GB; ER04)

Series 12: Printed Material, circa 1970-2010 (1.0 linear Feet; Box 23)

Biographical / Historical:

Patricia Hills (1936-) is an art historian, curator, and Professor Emerita of American Art and African American Art at Boston University. Hills obtained a B.A. from Stanford University in Modern European Literature, an M.A. from Hunter College in 1968, where she was advised by Leo Steinberg, and her PhD. from New York University's Institute of Fine Arts. Hills worked as Associate and later Adjunct Curator of 18th and 19th Century American Art at the Whitney Museum of American Art from 1972 until 1987. During that time she organized exhibitions including John Singer Sargent (1986) while progressively becoming more invested as an educator, with teaching positions at Hunter College and the Institute of Fine Arts. In February 2011 she received the Distinguished Teaching of Art History award from the College Art Association.

Hills served as the Director of the Boston University Art Gallery from 1980-1989, and began her tenure in the art history department as Associate Professor in 1978. She was co-founder of the Boston Chapter of the Women's Caucus for Art and was highly active in the College Art Association and American Studies Association. She has held fellowships at numerous institutions including the W.E.B. DuBois Institute for African and African American Research at Harvard University, the Smithsonian American Art Museum, the Georgia O'Keeffe Museum Research Center, and the Gilder Lehrman Institute of American History.

As a principal author she is responsible for organizing a number of monograph and exhibition catalog publishing efforts including Painting Harlem Modern: The Art of Jacob Lawrence (2010), May Stevens (2005), Eastman Johnson: Painting America (co-authored, 1999), John Singer Sargent (1986), Alice Neel (1983), Social Concern and Urban Realism: American Painting of the 1930s (1983), Turn-of-the-Century America: Paintings, Graphics, Photographs, 1890-1910 (1977), The Painters' America: Rural and Urban Life, 1810-1910 (1974), and The American Frontier: Images and Myths (1973). In addition, Patricia Hills has authored numerous articles for art publications, served as reviewer for College Art Association's CAA Reviews, and has contributed greatly as a peer reviewer and editor. From 1990 to 1999, she served as series editor for six books in the Cambridge Studies in American Visual Culture series, published by Cambridge University Press.

Provenance:

Donated in 2006, 2018, 2019 and 2022 by Patricia Hills.

Restrictions:

This collection is temporarily closed to researchers due to archival processing. 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.

Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.

Occupation:

Educators -- Massachusetts -- Boston  Search this

Art historians -- Massachusetts -- Boston  Search this

Museum curators -- New York (State) -- New York  Search this

Topic:

African American artists  Search this

Art, American -- 19th century  Search this

Art -- Political aspects  Search this

Women artists  Search this

Women educators  Search this

Women art historians  Search this

Women museum curators  Search this

Citation:

Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hillspat

See more items in:

Patricia Hills papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94c3f79a5-92b6-4d74-8ddb-d1957923a415

EDAN-URL:

ead_collection:sova-aaa-hillspat

Creator:

Hills, Patricia, 1936-  Search this

Subject:

Lawrence, Jacob  Search this

Neel, Alice  Search this

Sargent, John Singer  Search this

Stevens, May  Search this

Johnson, Eastman  Search this

Women's Caucus for Art  Search this

Citation:

Patricia Hills papers, circa 1900-2022. Archives of American Art, Smithsonian Institution.

Topic:

African American artists  Search this

Art, American -- 19th century  Search this

Art -- Political aspects  Search this

Women artists  Search this

Women educators  Search this

Women art historians  Search this

Women museum curators  Search this

Theme:

Women  Search this

Research and writing about art  Search this

Record number:

(DSI-AAA_CollID)17590

(DSI-AAA_SIRISBib)396402

AAA_collcode_hillspat

Theme:

Women

Research and writing about art

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_396402