Skip to main content Smithsonian Institution

Search Results

Collections Search Center
6,972 documents - page 1 of 349

Evolution of a Community: 1972 Exhibition Records

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Extent:
2.26 Cubic feet (1 box, 1 oversized box.)
Type:
Collection descriptions
Archival materials
Exhibition catalogs
Contact sheets
Correspondence
Clippings
Photographic prints
Negatives
Exhibition records
Place:
Anacostia (Washington, D.C.)
Date:
1898-1988
Scope and Contents:
The records of the Evolution of a Community: 1972 Exhibition presented by the Anacostia Community Museum measure 2.26 cubic feet and date from 1898 to 1988. Included are exhibit administrative files, lists of images, press releases for the promotion of the exhibit, oral history transcripts and permission forms, and extensive research files into the Anacostia community in southeast Washington D.C.

Exhibit Records include an outline for exhibit themes and proposed layouts, administrative files that include work plans and meeting notes, lists of exhibit images, promotional press releases, and related correspondence. Subjects relate to project management and community engagement.

Oral History of Anacostia Project Files include transcripts of the audio collected from the Oral History of Anacostia Project. This includes a list of interviewees and their interviewers.

Neighborhood Background Research Files represent two-thirds of the collection. Research files include news clippings, publications, unpublished articles, project files, and research material. Subjects include local figures and the Barry's Farm neighborhood, unpublished historical narratives, and project records related to archaeological investigations and neighborhood development programs.
Arrangement:
Evolution of a Community: 1972 Exhibition Records is arranged in 3 series.

Series 1: Exhibit Records

Series 2: Oral History of Anacostia Project Files

Series 3: Neighborhood Background Research Files
Historical Note:
An exhibition on history of the Anacostia neighborhood of Washington D.C. post-World War II. The show was organized by the Anacostia Neighborhood Museum (now the Anacostia Community Museum) and held there from January 1, 1972 to December 31, 1972.
Related Materials:
Anacostia Story: 1608-1930 Exhibition Records, M03-039.
Provenance:
Records of the Evolution of a Community: 1972 Exhibition were created by the Anacostia Community Museum.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
Museum exhibits  Search this
African American neighborhoods  Search this
African Americans  Search this
Genre/Form:
Exhibition catalogs
Contact sheets
Correspondence
Clippings
Photographic prints
Negatives
Exhibition records -- 1967-1989
Citation:
Evolution of a Community: 1972 Exhibition Records, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-040
See more items in:
Evolution of a Community: 1972 Exhibition Records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa75cac2f00-94cc-479a-bf58-1c9a3dd1ced4
EDAN-URL:
ead_collection:sova-acma-03-040
Online Media:

Footsteps from North Brentwood exhibition records

Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
North Brentwood Historical Society (North Brentwood, Md.)  Search this
Names:
Anacostia Community Museum  Search this
Extent:
2.42 Linear feet (3 boxes)
Type:
Collection descriptions
Archival materials
Correspondence
Brochures
Photographic prints
Exhibition records
Exhibit scripts
Contact sheets
Place:
Washington (D.C.)
Date:
1996-04 - 1996-12
Summary:
An exhibition on the North Brentwood neighborhood of Washington, DC. The show was created by the Anacostia Community Museum in collaboration with the North Brentwood Historical Society. It was exhibited at the museum from April 1996 to December 1996. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, exhibit scripts, administrative records, brochures, press coverage, education packets, loan agreements, and floor plans.
Related Archival Materials note:
Audiovisual materials related to this exhibition located in Anacostia Community Museum Archives.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
African American neighborhoods  Search this
Museum exhibits  Search this
Genre/Form:
Correspondence
Brochures
Photographic prints
Exhibition records -- 1990-2004
Exhibit scripts
Contact sheets
Citation:
Footsteps from North Brentwood exhibition records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-019
See more items in:
Footsteps from North Brentwood exhibition records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa721ddf045-5e44-4155-a23b-6e6fefa125b8
EDAN-URL:
ead_collection:sova-acma-03-019

Avel de Knight papers

Creator:
De Knight, Avel, 1921-1995  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Menus
Photographs
Date:
1947-2003
bulk 1957-1968
Summary:
The Avel de Knight papers measure 0.6 linear feet and date from 1947 to 2003 with the bulk of the collection dating from 1957 to 1968. The collection includes professional files, writings, printed material, and photographic material.
Scope and Contents:
The Avel de Knight papers measure 0.6 linear feet and date from 1947 to 2003 with the bulk of the collection dating from 1957 to 1968. The collection includes professional files, writings, printed material, and photographic material.

Professional files include biographies and chronologies, professional correspondence, and material related to de Knight's menu designs for l'Escargot Restaurant, a French restaurant in Chicago.

Writings make up the bulk of the collection and consist primarily of clippings of de Knight's critiques in France-Amérique. Filed within these critiques are occasional letters from artists whose shows de Knight reviewed in the paper. Also included in this series are artist statements and notes.

Printed material includes exhibition announcements, catalogs, and invitations; clippings and reviews; press releases and newsletters; and reproductions of de Knight's works of art.

Photographic material includes photographs and contact sheets of Avel de Knight and his work.
Arrangement:
The collection is arranged in four series.

Series 1: Professional Files, circa 1966-1998 (Box 1; 3 Folders)

Series 2: Writings, 1957-1968, undated (Box 1; 0.3 linear feet)

Series 3: Printed Material, 1947, 1962-2003, undated (Box 2; 4 Folders)

Series 4: Photographic Material, circa 1959-1989 (Box 2; 3 Folders)
Biographical / Historical:
Avel C. de Knight (1921-1995) was an African American painter, educator, and art critic. His birth dates are also cited as 1923, 1925, 1931, and 1933. Born in New York to parents from Barbados and Puerto Rico, he attended Pratt Institute before serving in a segregated United States Army unit in World War II. After the war, he studied at the École de Beaux-Arts, the Grand Chaumière, and the Académie Julian in Paris under the G.I. Bill. He returned to the United States in 1956 and in 1957 began reviewing New York exhibitions for France-Amérique. He also taught at the Art Students League and later at the National Academy School of Fine Arts. De Knight was an Academician of the National Academy of Design and his works are held in collections of the Metropolitan Museum of Art, the Walker Art Center, and the University of Richmond Museums.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Avel de Knight conducted by Henri Ghent, 1968.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D388 and N69-111. This includes art criticism and Department of State correspondence, letters and certificates of award from the American Watercolor Society, notices of purchase and awards from the National Academy of Design, material from the National Institute of Arts and letters concerning grants, and photographs of de Knight with his work. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Avel de Knight loaned materials for microfilming in 1969. Additional papers were donated to the Archives of American Art in 2003 by Stephen J. and Sunchita F. Tyson, executors of Avel de Knight's estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Occupation:
Painters -- New York (State) -- New York  Search this
Educators  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Menus
Photographs
Citation:
Avel de Knight papers, 1947-2003, bulk 1957-1968. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.deknavel
See more items in:
Avel de Knight papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw996ccb8fd-a225-4c36-8c3e-acba44386fc1
EDAN-URL:
ead_collection:sova-aaa-deknavel
Online Media:

Senga Nengudi papers

Creator:
Nengudi, Senga, 1943-  Search this
Names:
Banks, Cheryl  Search this
Hammons, David, 1943-  Search this
Hassinger, Maren  Search this
McCullough, Barbara  Search this
Extent:
12.8 Linear feet
11.24 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Video recordings
Scrapbooks
Diaries
Drawings
Sketchbooks
Date:
1947
circa 1962-2017
Summary:
The papers of African American conceptual and performance artist Senga Nengudi measure 12.8 linear feet and 11.24 gigabytes and date from circa 1962 to 2017, with a folder of printed material dating from 1947. The collection contains biographical material including education and family records, the kimono Nengudi wore during her wedding to Ellioutt Fittz, certificates, interview transcripts, and address books; calendars and journals chronicling Nengudi's appointments, thoughts, and artistic practice; and correspondence with friends and other artists including Maren Hassinger, Cheryl Banks, and David Hammons. Also included is family correspondence, including letters between Senga Nengudi (then Sue Irons) and her mother when Nengudi was living in Japan. The collection also contains writings by Senga Nengudi and others; material related to professional activities including teaching files, gallery files, and files related to exhibitions, projects, and performances; printed material including exhibition and event announcements and catalogs, clippings, magazines, and other published material; a scrapbook primarily containing photographs and printed material; photographic material depicting Senga Nengudi, works of art, and other individuals; artwork by Nengudi and others, including Maren Hassinger; and audio and video recordings, including recordings of performances.
Scope and Contents:
The papers of African American conceptual and performance artist Senga Nengudi measure 12.8 linear feet and 11.24 gigabytes and date from circa 1962 to 2017, with a folder of printed material dating from 1947. The collection contains biographical material, including education and family records, the kimono Nengudi wore during her wedding to Ellioutt Fittz, certificates, interview transcripts, and address books; calendars and journals chronicling Nengudi's appointments, thoughts, and artistic practice; and correspondence with friends and other artists including Maren Hassinger, Cheryl Banks, and David Hammons. Also included is family correspondence, including letters between Senga Nengudi (then Sue Irons) and her mother when Nengudi was living in Japan. The collection also contains writings by Senga Nengudi and others; material related to professional activities including teaching files, gallery files, and files related to exhibitions, projects, and performances; printed material including exhibition and event announcements and catalogs, clippings, magazines, and other published material; a scrapbook primarily containing photographs and printed material; photographic material depicting Senga Nengudi, works of art, and other individuals; artwork by Nengudi and others, including Maren Hassinger and Barbara McCullough; and audio and video recordings, including recordings of performances.
Arrangement:
This collection is arranged as ten series.

Series 1: Biographical Material, 1962-2006, 2017 (Box 1, Box 14; 0.5 linear feet)

Series 2: Calendars and Journals, 1967-2016 (Boxes 1-6; Box 15; 5.7 linear feet)

Series 3: Correspondence, 1966-2017 (Boxes 6-8; 1.7 linear feet)

Series 4: Writings, 1964-2010 (Box 8; 0.3 linear feet)

Series 5: Professional Activities, 1966-2017 (Boxes 8-10, Box 15; 1.9 linear feet, ER01-ER06; 11.10 GB)

Series 6: Printed Material, 1947, 1963-2017 (Boxes 10-12, Box 15; 1.4 linear feet, ER07; 0.143 GB)

Series 7: Scrapbook, 1974-1976 (Box 15; 1 folder)

Series 8: Photographic Material, circa 1962-2007 (Box 12, Box 15; 0.1 linear feet)

Series 9: Artwork, circa 1960s-2004, 2014, undated (Box 12, Box 15; 0.5 linear feet)

Series 10: Audio and Video Recordings, circa 1974-1998 (Boxes 12-13; 0.4 linear feet)
Biographical / Historical:
Senga Nengudi (1943- ) is an African American conceptual and performance artist in Colorado Springs, Colorado. Born Sue Irons in Chicago, Illinois, she earned a bachelor's degree in art with a minor in dance from California State University, Los Angeles. From 1966 to 1967 she studied Japanese culture at Waseda University in Tokyo, Japan. This study deeply influenced her artistic practice. Upon her return from Japan in 1967, she pursued her master's degree in sculpture at California State University, which she received in 1971.

After receiving her master's degree, she moved to New York to continue her career as an artist, showing at Just Above Midtown Gallery and teaching at the Children's Art Carnival in Harlem. Throughout her career, Nengudi has collaborated and shown with Maren Hassinger, David Hammons, Barbara McCullough, Suzanne Jackson, John Outterbridge, and Bettye Saar. Nengudi is best known for "stationary performance objects," particularly her RSVP series, objects composed of nylon mesh and sand that refer to the flexibility of the female figure. The series debuted in the 1970s and Nengudi returned to it, adding on A.C.Q. to exhibit it at the 57th Venice Biennale in 2017. Also in 2017, Senga Nengudi: Improvisational Gestures opened at the DePaul Art Museum. This was the first solo museum survey for the artist and featured work from the 1970s to 2017.
Related Materials:
The Amistad Research Center also holds 4.5 linear feet of the Senga Nengudi papers, 1966-2017.
Provenance:
The Senga Nengudi papers were donated to the Archives of American Art in 2018 and 2019 by Senga Nengudi.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Conceptual artists -- Colorado -- Colorado Springs  Search this
Performance artists -- Colorado -- Colorado Springs  Search this
Topic:
African American artists  Search this
Women artists  Search this
African American art -- African influences  Search this
Women performance artists  Search this
Genre/Form:
Sound recordings
Video recordings
Scrapbooks
Diaries
Drawings
Sketchbooks
Citation:
Senga Nengudi papers, 1947, circa 1962-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nengseng
See more items in:
Senga Nengudi papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1e2d273-f8a1-4561-8fd6-633b1e58d2f7
EDAN-URL:
ead_collection:sova-aaa-nengseng
Online Media:

Clethra alnifolia

Life Form:
Deciduous shrub/sub-shrub
Bloom Characteristics:
Narrow, upright panicles are 2-6" (5-15.25 cm) long with white flowers.
Fall Color:
Yellow to brown
Foliage Characteristics:
Alternate, simple, obovate to oblong, glossy, dark green leaves have serrated margines, and are 3-4" (7.6-10.2 cm) long.
Fragrance:
Sweet
Fruit Characteristics:
Seed capsules are brown and may persist into winter. .12" (.3 cm) across.
Plant Size:
3-8' tall by 4-6' wide (.92-2.44 x 1.22-1.83 meters)
Structure:
Rounded
Range:
SE Canada to Texas
Habitat:
Swampy woodlands, marshes, seashores; 0-656ft (0-200m)
Topic:
Display Gardens  Search this
Living Collections  Search this
Common Name:
Coastal Sweet Pepperbush
Pink spire
Summersweet
Group:
[vascular plants]
Class:
Equisetopsida
Subclass:
Magnoliidae
Superorder:
Asteranae
Order:
Ericales
Family:
Clethraceae
Genus:
Clethra
Species:
alnifolia
Accession Number:
2021-0673A
Restrictions & Rights:
CC0
See more items in:
Smithsonian Gardens Display Collection
On Display:
National Museum of African American History and Culture
Data Source:
Smithsonian Gardens
GUID:
http://n2t.net/ark:/65665/ax7b530e350-c3bd-4313-8b7a-b0f1613454ed
EDAN-URL:
edanmdm:ofeo-sg_2021-0673A
Online Media:

Wooden marionette wearing a green velvet suit and bow tie

Artist:
William N. Buckner  Search this
Medium:
wood, paper-mâché, cotton, paint, string, wire, nails
Dimensions:
Puppet: 22 7/16 × 7 1/2 × 3 9/16 in. (57 × 19 × 9 cm)
From first controller to feet of puppet: 63 3/4 in. (162 cm)
Type:
puppet
Cite As:
Anacostia Community Museum, Smithsonian Institution
Accession Number:
2011.1008.0002
Restrictions & Rights:
CC0
See more items in:
Anacostia Community Museum Collection
Data Source:
Anacostia Community Museum
GUID:
http://n2t.net/ark:/65665/dl8787da93b-0c8a-4acb-8a2d-7fafe23c2dea
EDAN-URL:
edanmdm:acm_2011.1008.0002
Online Media:

U.S. Burial Flag for Sergeant Cornelius H. Charlton

Created by:
Unidentified  Search this
Subject of:
Sergeant Cornelius H. Charlton, American, 1929 - 1951  Search this
Received by:
Fairy Mae Penn Papadopoulus, American, died 2010  Search this
Used by:
United States Army, American, founded 1775  Search this
Medium:
cotton (textile)
Dimensions:
H x W x D (folded): 10 7/8 × 22 1/2 × 3 1/8 in. (27.6 × 57.2 × 7.9 cm)
Type:
funeral palls
flags
Place used:
Arlington County, Virginia, United States, North and Central America
Date:
2008
Topic:
African American  Search this
Funeral customs and rites  Search this
Korean War, 1950-1953  Search this
Military  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of George "Everett" Penn, Jr.
Object number:
2015.193.1
Restrictions & Rights:
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Sergeant Cornelius H. Charlton Collection
Classification:
Textiles
Religious and Sacred Objects
Exhibition:
Double Victory: The African American Military Experience
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5e2b18062-1df3-48ae-b09c-e01b142ae49d
EDAN-URL:
edanmdm:nmaahc_2015.193.1
Online Media:

Three spent cases from Sergeant Cornelius H. Charlton's funeral volley

Manufactured by:
Lake City Army Ammunition Plant, American, founded 1941  Search this
Subject of:
Sergeant Cornelius H. Charlton, American, 1929 - 1951  Search this
Received by:
Fairy Mae Penn Papadopoulus, American, died 2010  Search this
Used by:
United States Army, American, founded 1775  Search this
Medium:
metal
Dimensions:
H x W x D (2015.193.2.1): 2 5/8 × 7/16 × 7/16 in. (6.7 × 1.1 × 1.1 cm)
H x W x D (2015.193.2.2): 2 9/16 × 7/16 × 7/16 in. (6.5 × 1.1 × 1.1 cm)
H x W x D (2015.193.2.3): 2 9/16 × 7/16 × 7/16 in. (6.5 × 1.1 × 1.1 cm)
Type:
cases (ammunition components)
Place used:
Beckley, Raleigh County, West Virginia, United States, North and Central America
Date:
1989
Topic:
African American  Search this
Funeral customs and rites  Search this
Korean War, 1950-1953  Search this
Military  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of George "Everett" Penn, Jr.
Object number:
2015.193.2.1-.3
Restrictions & Rights:
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Collection title:
Sergeant Cornelius H. Charlton Collection
Classification:
Religious and Sacred Objects
Tools and Equipment-Weapons and ammunition
Exhibition:
Double Victory: The African American Military Experience
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd50a3df663-0c7b-44e8-b378-633a42ec3e55
EDAN-URL:
edanmdm:nmaahc_2015.193.2.1-.3
Online Media:

Renee V. Cox papers

Creator:
Cox, Renée, 1960-  Search this
Extent:
5.7 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-2016
bulk 1990s
Summary:
The papers of African American photographer Renee V. Cox measure 5.7 linear feet and date from 1973 to 2018, with individual materials from 1945 and 1955. The bulk of the materials date from the 1990s. The collection contains biographical material, correspondence, writings, exhibition files, materials related to Cox's photographic projects and other professional activities, personal business records, printed material, and photographic material.
Scope and Contents:
The papers of African American photographer Renee V. Cox measure 5.7 linear feet and date from 1973 to 2018, with individual materials from 1945 and 1955. The bulk of the materials date from the 1990s. The collection contains biographical material including resumes, calendars and appointment books, education records, and family records; personal and professional correspondence; writings including notes, notebooks/sketchbooks, artist statements, and writings by others; and exhibition files, including plans, photographs, and loan forms. Also included are materials related to Cox's photographic projects and other professional activities, including proposals, plans, teaching files, and professional travel itineraries, as well as material related to the Yo Mama's Last Supper controversy; personal business records, including invoices, sales records, contracts, and agreements; printed material, including clippings, exhibition materials, magazines, and newspapers; and photographic material including slides, contact sheets, prints and copies of Cox's work, family photographs, travel photographs, and photograph portfolios/scrapbooks.
Arrangement:
This collection is arranged as eight series.

Series 1: Biographical Material, 1945, 1955, 1973-2011 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1975-1977, 1990-2008 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1975, circa 1990s-2008 (Boxes 1-2; 0.4 linear feet)

Series 4: Exhibition Files, circa 1990s-2010 (Box 2; 0.4 linear feet)

Series 5: Projects and Professional Activities, circa 1987-2009 (Box 2, Box 7; 0.4 linear feet)

Series 6: Personal Business Records, 1992-2015 (Box 3; 0.2 linear feet)

Series 7: Printed Material, 1974-2018 (Boxes 3-7; 3.4 linear feet)

Series 8: Photographic Material, circa 1980s-2000s, undated (Boxes 6-7; 0.3 linear feet)
Biographical / Historical:
Renee V. Cox (1960- ) is a Jamaican-born African American photographer in New York, NY. She is known for using her work to celebrate Black womanhood and for confronting racism and sexism in her reimagined depictions of religious or cultural figures. Cox began her photographic career as a fashion photographer, working with major fashion houses, supermodels, and agencies to create images that were published in Essence, Seventeen, Mademoiselle, Ebony Man, Sportswear International, and many others.

In 1992, she earned her Master of Fine Arts from the School of Visual Arts in New York, NY and went on to attend the Whitney Museum of American Art Independent Study Program. Renee Cox was the first woman to attend the program while pregnant and she created works in her Yo Mama series during this time, including a statue of her nude, pregnant form.

In 2001, Cox's work Yo Mama's Last Supper was included in the Committed to the Image exhibition at the Brooklyn Museum. The image is a reimagining of Leonardo Da Vinci's The Last Supper with Cox as Jesus surrounded by Black disciples and a white Judas. New York mayor Rudolph Giuliani called for a commission to set decency standards for any New York museum receiving public funds. In addition to the press coverage, Cox received hate mail and threats from people about the piece.

Cox continues to create work engaged in dialogues about the intersection of race, gender, class, and power. Her work has been exhibited internationally and is held in many private and public collections.
Provenance:
The papers were donated in 2019 by Renee V. Cox as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Photographers -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Women artists  Search this
Women photographers  Search this
African American photographers  Search this
Citation:
Renee V. Cox papers, 1945-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.coxrenee
See more items in:
Renee V. Cox papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f2b57303-7d38-462d-b639-1e6660ef8d7f
EDAN-URL:
ead_collection:sova-aaa-coxrenee
Online Media:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife

Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Names:
Smithsonian Folklife Festival  Search this
Extent:
1 Cubic foot (approximate)
Type:
Collection descriptions
Archival materials
Audiotapes
Videotapes
Memorandums
Plans (drawings)
Sound recordings
Photographic prints
Negatives
Audiocassettes
Business records
Correspondence
Notes
Digital images
Slides (photographs)
Video recordings
Contracts
Date:
October 4-9, 1978
Summary:
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1978 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 10 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Chesapeake Bay Traditions

Series 3: Children's Folklife

Series 4: Coal Miners & Oil Workers

Series 5: D.C. Folklore

Series 6: Folklife in the Museum: A Nation of Nations

Series 7: Folklife in the Museum: Renwick Gallery

Series 8: Mexican & Mexican American Traditions

Series 9: Other Programs

Series 10: San Juan Pueblo Culture
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1978 Festival of American Folklife was produced by the Smithsonian Folklife Program of the Office of American and Folklife Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.
Introduction:
With the 1978 Festival, the Smithsonian began a five-year cycle of variations on the theme of "community," exploring folklore as the artistic expression of community life, and the pleasure and dignity found in that process. When the Smithsonian Folklife Program staff decided to use "community" as the theme of the 1978 presentation, they were not grafting an idea onto the Festival, but featuring an aspect of the Festival that had been present throughout its history. Folklore consists of the traditional ways in which community people work and play together, and their customary forms of entertaining and instructing each other. Community is composed of people meeting regularly who have inherited or developed ways of celebrating their sense of coming together.

"Community" had been involved in the past eleven festivals in many ways. For communities - whether inherited or joined - serve as a vital buffer between individuals and a world of megastates and megacorporations. They are more manageable units in which all can participate - men and women, young and old - and give some living proof of Schumacher's notion that "small is beautiful." Festival organizers sought to reaffirm that humans are important, and that we are, like plants and other animals, dependent upon communities for survival.

As with the preceding year, the 1978 Festival (October 4-9) was held on a site on the National Mall later to be occupied by the National Museum of African American History and Culture, between 14th and 15th Streets and between Constitution Avenue and Madison Drive (see site plan). Indoor activities took place in the National Museum of History and Technology, the National Museum of Natural History, and the Renwick Gallery. The San Juan Pueblo programs took place outside of the National Museum of Natural History. As had been the case in 1977, Festival programming in the museums sought to connect objects on exhibit with people who could demonstrate, explain, or comment upon them; programming was again marked by collaboration between Folklife Program staff and museum curators. Festival programs included:

Missing Title

Chesapeake Bay Traditions

Children's Folklife

Coal Miners & Oil Workers

D.C. Folklore

Folklife in the Museum: A Nation of Nations (including presentations on Ellis Island, Dunham School,family folklore, sleeping car porters, and a wheelwright)

Folklife in the Museum: Renwick Gallery (featuring presentations on Mexican masks and on musicalinstruments)

Mexican & Mexican American Traditions

Other Programs (featuring organ-building in the Hall of Musical Instruments and sharecroppers in the Hallof Everyday Life in the American Past)

San Juan Pueblo Culture

The 1978 Program Book provided information on each of the programs, including a schedule and participant lists.

The 1978 Festival was again co-presented by the Smithsonian Institution and National Park Service, with support from the U.S. Department of Energy, McDonald's Washington Area Family Restaurants, and the Music Performance Trust Funds. It was organized by the Folklife Program within the Office of American and Folklife Studies.

Folklife Advisory Council

Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, Richard Dorson, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Bernice Reagon, Ralph Rinzler, E. Richard Sorenson

Folklife Program, Office of American and Folklife Studies

Ralph Rinzler, Director; Jeffrey LaRiche, Program Coordinator; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Ethnomusicologist; Susan Kalcik, Folklorist; Steve Zeitlin, Folklorist; Jack Santino, Folklorist; Frank Proschan and Richard Derbyshire, Archivists

National Park Service

William J. Whelan, Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Fieldworkers and presenters:
Héctor Aguíñiga, Holly Baker, Karen Baldwin, Charles Camp, Susan G. Davis, Hazel Dickens, Jason Dotson, Ben Evans, Alicia González, Richard Haefer, Charlotte Heth, Marjorie Hunt, Amy Kotkin, Maria La Vigna, Phyllis May, Pat Mullen, Salvador Ortega, Keith Rollinson, Daniel Sheehy, Nick Spitzer, Peggy Yocom, Jean Alexander, Kate Rinzler, George McDaniels
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Forms Part Of:
Smithsonian Folklife Festival records: 1978 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Food habits  Search this
Folk festivals  Search this
Folk music  Search this
Folklore  Search this
Folk art  Search this
World music  Search this
arts and crafts  Search this
Genre/Form:
Audiotapes
Videotapes
Memorandums
Plans (drawings)
Sound recordings
Photographic prints
Negatives
Audiocassettes
Business records
Correspondence
Notes
Digital images
Slides (photographs)
Video recordings
Contracts
Citation:
Smithsonian Folklife Festival records: 1978 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1978
See more items in:
Smithsonian Folklife Festival records: 1978 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk53f9480fa-0587-4c44-8098-782e5c3c5e5c
EDAN-URL:
ead_collection:sova-cfch-sff-1978

Flight suit worn by Charles F. Bolden during his first spaceflight

Manufactured by:
Gibson & Barnes, American, founded 1977  Search this
Worn by:
Maj. Gen. Charles F. Bolden Jr., American, born 1946  Search this
Issued by:
National Aeronautics and Space Administration, American, founded 1958  Search this
Medium:
cloth, metal, leather
Dimensions:
On form: 57 1/2 × 16 3/4 × 9 in. (146.1 × 42.5 × 22.9 cm)
Type:
coveralls
uniforms
Place made:
El Cajon, San Diego County, California, United States, North and Central America
Date:
1986
Topic:
African American  Search this
Aeronautics  Search this
Clothing and dress  Search this
Military  Search this
Science  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Maj. Gen. Charles F. Bolden Jr., USMC (Ret)
Object number:
2014.243.4
Restrictions & Rights:
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Clothing-Costume
Clothing-Historical
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd54e2b5621-ed3a-48dc-a71a-50ee18029dd4
EDAN-URL:
edanmdm:nmaahc_2014.243.4

Costume worn by Nona Hendryx of Labelle

Designed by:
Larry LeGaspi, American, 1950 - 2001  Search this
Worn by:
Nona Hendryx, American, born 1944  Search this
Subject of:
Labelle, American, founded 1962  Search this
Medium:
Skullcap: synthetic fiber and batting
Bodysuit: synthetic fiber, metal zipper
Vest: synthetic fiber, batting, metal, and elastic
Boot Covers: synthetic fiber, batting, Velcro™, and elastic
Dimensions:
H x W x D (Skullcap (flat)): 20 1/4 × 11 × 1 1/4 in. (51.4 × 27.9 × 3.2 cm)
H x W x D (Skullcap (on form)): 20 1/2 × 9 × 9 1/2 in. (52.1 × 22.9 × 24.1 cm)
H x W (Bodysuit (flat)): 55 1/2 × 29 in. (141 × 73.7 cm)
H x W x D (Bodysuit (on form)): 54 1/2 × 18 × 11 in. (138.4 × 45.7 × 27.9 cm)
H x W (Bodysuit (inseam)): 29 in. (73.7 cm)
H x W x D (Vest (flat)): 55 × 28 1/2 × 1/2 in. (139.7 × 72.4 × 1.3 cm)
H x W x D (Vest (on form)): 27 × 26 × 12 1/2 in. (68.6 × 66 × 31.8 cm)
H x W x D (Boot cover (.a, left, flat)): 23 × 8 × 1 in. (58.4 × 20.3 × 2.5 cm)
H x W x D (Boot cover (.b, right, flat)): 23 1/2 × 8 1/4 × 1 in. (59.7 × 21 × 2.5 cm)
H x W x D (Boot cover (.a, left, on form)): 23 1/2 × 4 1/2 × 7 1/2 in. (59.7 × 11.4 × 19.1 cm)
H x W x D (Boot cover (.b, right, on form)): 22 × 4 1/2 × 7 3/4 in. (55.9 × 11.4 × 19.7 cm)
Type:
main garments for the upper body
body stockings
skullcaps
overshoes
Date:
1975
Topic:
African American  Search this
Costume  Search this
Costume design  Search this
Design  Search this
Disco (Music)  Search this
Funk (Music)  Search this
Rhythm and blues (Music)  Search this
Rock and roll (Music)  Search this
Singers (Musicians)  Search this
Soul (Music)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Nona Hendryx of Labelle
Object number:
2014.246.3.1-.4ab
Restrictions & Rights:
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Clothing-Costume
Movement:
Afrofuturism
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd525c8c82c-5df6-48f2-8e88-e0234baade5d
EDAN-URL:
edanmdm:nmaahc_2014.246.3.1-.4ab

Red Starfleet uniform worn by Nichelle Nichols as Lt. Uhura on Star Trek

Designed by:
William Ware Theiss, American, 1931 - 1992  Search this
Worn by:
Nichelle Nichols, American, 1932 - 2022  Search this
Medium:
synthetic velour cloth with metal and Velcro closures
Dimensions:
H x W x D (flat): 27 1/2 × 22 × 3/4 in. (69.9 × 55.9 × 1.9 cm)
Type:
dresses
Date:
1966-1967
Topic:
African American  Search this
Actors  Search this
Clothing and dress  Search this
Costume  Search this
Costume design  Search this
Design  Search this
Science  Search this
Television  Search this
Women  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2016.126
Restrictions & Rights:
No Known Copyright Restrictions
Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Clothing-Costume
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd53b27b528-3266-4e90-ab6b-e5976ebd7e24
EDAN-URL:
edanmdm:nmaahc_2016.126
Online Media:

Costume for Black Panther worn by Chadwick Boseman

Produced by:
Marvel Worldwide, Inc., American, founded 1939  Search this
Worn by:
Chadwick Boseman, American, 1977 - 2020  Search this
Created by:
Andy Park, American, born 1975  Search this
Designed by:
Judianna Makovsky, American, born 1967  Search this
Medium:
Skin suit, gloves, and boots: synthetic fiber, Velcro (TM), and metal;
Muscle Suit: spandex, Lycra, polyester, and latex;
Helmet: urethane elastomer, plastic, and magnets
Dimensions:
H x W (Full Costume Measurements): 75 × 23 in. (190.5 × 58.4 cm)
Type:
costume
helmets
gloves
boots
bodysuits
Cultural Place:
Africa
Place made:
United States, North and Central America
Date:
2016
Topic:
African American  Search this
Comics and graphic novels  Search this
Costume  Search this
Costume design  Search this
Design  Search this
Hollywood (Film)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Marvel Studios and The Walt Disney Company
Object number:
2018.39.1.1abc-.5ab
Restrictions & Rights:
© Marvel
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Clothing-Costume
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 033
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5bae0c0de-7388-475e-b812-296958d6d890
EDAN-URL:
edanmdm:nmaahc_2018.39.1.1abc-.5ab
Online Media:

Guitar with case and strap owned by Vernon Reid

Manufactured by:
ESP Guitars, Japanese, founded 1975  Search this
Ernie Ball, American, founded 1962  Search this
Subject of:
Living Colour, American, founded 1984  Search this
Used by:
Vernon Reid, American, born 1958  Search this
Medium:
wood with metal and plastic
Dimensions:
H x W x D (2021.92.2a): 39 1/2 × 12 1/2 × 2 3/4 in. (100.3 × 31.8 × 7 cm)
H x W x D (2021.92.2b): 45 × 15 × 4 1/4 in. (114.3 × 38.1 × 10.8 cm)
H x W x D (2021.92.2c): 1 3/8 × 13/16 × 1/16 in. (3.5 × 2 × 0.1 cm)
H x W x D (2021.92.2d): 1 3/8 × 13/16 × 1/16 in. (3.5 × 2 × 0.1 cm)
H x W x D (2021.92.2e): 43 11/16 × 2 3/8 × 1 in. (111 × 6 × 2.5 cm)
H x W x D (2021.92.2f): 6 11/16 × 1 9/16 × 3/16 in. (17 × 4 × 0.5 cm)
Type:
guitars
Date:
1985-1986
Topic:
African American  Search this
Composers (Musicians)  Search this
Instrumentalists (Musicians)  Search this
Musicians  Search this
Popular music  Search this
Rock and roll (Music)  Search this
Singers (Musicians)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Donated by Vernon Reid
Object number:
2021.92.2a-f
Restrictions & Rights:
Unknown - Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Musical Instruments
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5b3a20cb7-428e-4c97-aa8a-ae1b1dbf6f5b
EDAN-URL:
edanmdm:nmaahc_2021.92.2a-f
Online Media:

Printing plate of Henry Scott

Photograph by:
Scott Tyler  Search this
Subject of:
Henry Scott  Search this
Used by:
The Chicago Defender, American, founded 1905  Search this
Medium:
ink on zinc
Dimensions:
H x W x D: 5 9/16 × 3 7/8 × 1/16 in. (14.1 × 9.8 × 0.2 cm)
Type:
printing plates
portraits
Place collected:
Chicago, Cook County, Illinois, United States, North and Central America
Date:
April 1946
Topic:
African American  Search this
Black Press  Search this
Business  Search this
Mass media  Search this
Military  Search this
Technology  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Chicago Defender Publishing Company
Object number:
2012.18.5.28
Restrictions & Rights:
© Chicago Defender Publishing Company
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Tools and Equipment-Crafting-Artistic-Image-making
Exhibition:
Making a Way Out of No Way
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5ef1218fe-b4a7-492a-a08e-493c0f012fda
EDAN-URL:
edanmdm:nmaahc_2012.18.5.28
Online Media:

Smithsonian traveling exhibition "The Negro Motorist Green Book"

Creator:
Smithsonian Institution Traveling Exhibition Service  Search this
Type:
YouTube Videos
Uploaded:
2022-04-27T13:58:04.000Z
YouTube Category:
Education  Search this
See more by:
sitesExhibitions
Data Source:
Smithsonian Institution Traveling Exhibition Service
YouTube Channel:
sitesExhibitions
EDAN-URL:
edanmdm:yt_-JEw6menUd8

Black Wings: American Dreams of Flight (silent film footage)

Creator:
Smithsonian Institution Traveling Exhibition Service  Search this
Type:
YouTube Videos
Uploaded:
2011-11-03T17:07:51.000Z
YouTube Category:
Education  Search this
See more by:
sitesExhibitions
Data Source:
Smithsonian Institution Traveling Exhibition Service
YouTube Channel:
sitesExhibitions
EDAN-URL:
edanmdm:yt_71wMhQ2V2tQ

The Outwin Boochever Portrait Competition 2013: Tema Stauffer Artist Interview

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2013-11-18T18:48:50.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_FRAKtMjDYfY

Combating Racism: Betsy Graves Reyneau, Laura Wheeler Waring and Representation of Black Achievement

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2020-11-17T17:37:03.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_cn_YX0QNyT8

Modify Your Search







or


Narrow By