Search Results

Maker:

Tsonga artist  Search this

Medium:

Wood

Dimensions:

H x W x D: 14.6 x 53.7 x 8.3 cm (5 3/4 x 21 1/8 x 3 1/4 in.)

Type:

Decorative Arts

Geography:

vicitnity of Fort Marabastad, Limpopo Province, South Africa

Date:

ca. 1890

Topic:

elephant  Search this

male  Search this

Credit Line:

Museum purchase

Object number:

91-14-1

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys715e2f4b9-5167-4358-bbaf-6126ab3f4f09

EDAN-URL:

edanmdm:nmafa_91-14-1

Creator:

White, Charles, 1918-1979  Search this

Subject:

White, Frances Barrett  Search this

Catlett, Elizabeth  Search this

Barthé, Richmond  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Belafonte Enterprises  Search this

Type:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Theme:

Diaries  Search this

African American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9350

(DSI-AAA_SIRISBib)211546

AAA_collcode_whitchar

Theme:

Diaries

African American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211546

Interviewee:

Andreson, Laura F., 1902-1999  Search this

Interviewer:

Bowman, Ruth, 1923-  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Laura Andreson, 1981 May 20. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women ceramicists  Search this

Women educators  Search this

Decorative arts  Search this

Theme:

Craft  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)13075

(DSI-AAA_SIRISBib)212215

AAA_collcode_andres81

Theme:

Craft

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212215

Culture/People:

Non-Indian  Search this

Artist/Maker:

Sanford and Company, Inc.  Search this

Previous owner:

Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this

Object Name:

Bracelet

Media/Materials:

Metal, plastic

Techniques:

Hammered, petit point/needlepoint, glued, stamped

Dimensions:

5.1 x 6.4 x 2.1 cm

Object Type:

Adornment/Jewelry

Place:

Los Angeles; Los Angeles County; California; USA

Date created:

circa 1955

Catalog Number:

25/6247

Barcode:

256247.000

See related items:

Non-Indian

Adornment/Jewelry

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws64de09fb2-6c19-4207-946b-f478fc92da30

EDAN-URL:

edanmdm:NMAI_272125

Culture/People:

Non-Indian  Search this

Artist/Maker:

Sanford and Company, Inc.  Search this

Previous owner:

Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this

Object Name:

Bracelet

Media/Materials:

Metal

Techniques:

Hammered, repoussé, stamped

Dimensions:

4.5 x 6.3 x 1 cm

Object Type:

Adornment/Jewelry

Place:

Los Angeles; Los Angeles County; California; USA

Date created:

1950-1960

Catalog Number:

25/6295

Barcode:

256295.000

See related items:

Non-Indian

Adornment/Jewelry

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6161e8cd0-9bbb-44df-80bd-c490bde2285e

EDAN-URL:

edanmdm:NMAI_272173

Culture/People:

Non-Indian  Search this

Artist/Maker:

Sanford and Company, Inc.  Search this

Previous owner:

Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this

Object Name:

Bracelet

Media/Materials:

Metal, plastic

Techniques:

Hammered, cast, glued, stamped

Dimensions:

4.9 x 5.9 x 1 cm

Object Type:

Adornment/Jewelry

Place:

Los Angeles; Los Angeles County; California; USA

Date created:

1950-1960

Catalog Number:

25/6331

Barcode:

256331.000

See related items:

Non-Indian

Adornment/Jewelry

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws671af649e-0a7a-4240-93b0-c6f74233cd6e

EDAN-URL:

edanmdm:NMAI_272212

Culture/People:

Non-Indian  Search this

Artist/Maker:

Sanford and Company, Inc.  Search this

Previous owner:

Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this

Object Name:

Bracelet

Media/Materials:

Metal, plastic

Techniques:

Hammered, bezel-set/stone-setting, petit point/needlepoint, glued, riveted

Dimensions:

5.3 x 5.8 x 3.4 cm

Object Type:

Adornment/Jewelry

Place:

Los Angeles; Los Angeles County; California; USA

Date created:

1950-1960

Catalog Number:

25/6333

Barcode:

256333.000

See related items:

Non-Indian

Adornment/Jewelry

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6ee5e4a04-8b44-430c-91b0-4d218a7d7571

EDAN-URL:

edanmdm:NMAI_272214

Culture/People:

Non-Indian  Search this

Artist/Maker:

Sanford and Company, Inc.  Search this

Previous owner:

Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this

Object Name:

Brooch/Pin

Media/Materials:

Metal, plastic

Techniques:

Cast, glued

Dimensions:

1 x 4 cm

Object Type:

Adornment/Jewelry

Place:

Los Angeles; Los Angeles County; California; USA

Date created:

1950-1960

Catalog Number:

25/7662

Barcode:

257662.000

See related items:

Non-Indian

Adornment/Jewelry

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6efb8c3c4-a66c-40e5-8ddc-8e44de7efaf4

EDAN-URL:

edanmdm:NMAI_273575

Culture/People:

Non-Indian  Search this

Artist/Maker:

Sanford and Company, Inc.  Search this

Previous owner:

Indian Arts and Crafts Board, Department of the Interior (IACB), 1935-  Search this

Object Name:

Finger ring

Media/Materials:

Metal, plastic

Techniques:

Cast, glued

Dimensions:

1.7 x 2 x 2.3 cm

Object Type:

Adornment/Jewelry

Place:

Los Angeles; Los Angeles County; California; USA

Date created:

1950-1960

Catalog Number:

25/7952

Barcode:

257952.000

See related items:

Non-Indian

Adornment/Jewelry

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws656f62148-9d09-4011-aabf-d588cc1ca6db

EDAN-URL:

edanmdm:NMAI_273870

Interviewee:

Andreson, Laura  Search this

Interviewer:

Bowman, Ruth, 1923-  Search this

Extent:

93 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1981 May 20

Scope and Contents:

An interview of Laura Andreson conducted 1981 May 20, by Ruth Bowman, for the Archives of American Art.

Andreson speaks of her youth in California; the decision to go to college and become a teacher; the impact on her life of contracting tuberculosis; the development of her work, her first exhibitions, her current work and research; her teaching career at UCLA; the science of clay and glazes; her opinions of contemporary ceramics, and the relationship of art to her life.

Biographical / Historical:

Laura Andreson (1902-1999) was a ceramist and art teacher from Los Angeles, California.

General:

Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 2 hrs., 42 min.

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 others.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Ceramicists -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

Women artists  Search this

Women ceramicists  Search this

Women educators  Search this

Decorative arts  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. This interview received support from the Smithsonian American Women's History Initiative Pool.

Identifier:

AAA.andres81

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw920b90d27-05cd-4916-a069-6c2fc62449fa

EDAN-URL:

ead_collection:sova-aaa-andres81

Creator:

National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2016-11-17T15:43:57.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_Npi_Nrw-B9o

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2016-05-18T16:17:21.000Z

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_PVCXnImLNns

Interviewee:

Ankrum, Joan  Search this

Interviewer:

McGlynn, Betty Lochrie Hoag  Search this

Subject:

Broderson, Morris  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Joan Ankrum, 1964 April 28. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women art dealers  Search this

Deaf artists  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)11672

(DSI-AAA_SIRISBib)213739

AAA_collcode_ankrum64

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213739

Interviewee:

Ankrum, Joan  Search this

Interviewer:

McGlynn, Betty Hoag  Search this

Names:

Broderson, Morris, 1928-2011  Search this

Extent:

25 Pages (Transcript)

1 Item (Reformatted in 2010 as 1 digital wav file. Duration is 39 min)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1964 April 28

Scope and Contents:

An interview of Joan Ankrum conducted by Betty Hoag on 1964 April 28 for the Archives of American Art.

Ankrum discusses the career of artist Morris Broderson, her nephew, who was deaf. She discusses his exhibitions, and his painting, "The Death of Christ."

Biographical / Historical:

Joan Ankrum (1913-2001) was an art dealer and owner of Ankrum Galleries in Los Angeles, California.

General:

Originally recorded on 1 sound tape reel.

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:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Art dealers -- California -- Los Angeles  Search this

Actors -- California -- Los Angeles  Search this

Topic:

Women artists  Search this

Women art dealers  Search this

Deaf artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview received support from the Smithsonian American Women's History Initiative Pool.

Identifier:

AAA.ankrum64

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91cac7859-e9b4-4ab9-ab8e-50a21d9fad9b

EDAN-URL:

ead_collection:sova-aaa-ankrum64

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Lega (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Congo (Democratic Republic)

Date:

1967

Scope and Contents:

"The Lega village (kyumo) is traditionally built on a hill in a more or less natural clearing 'kilungulabo' of primary rain forest. It consists of two parallel rows (mikeke) of contiguous huts, a plan that creates an impression of longhouses. The open space (mulungu) between the two rows of houses serves as main street, a dance floor, and a public place." [Biebuyck D., 1973: Lega Culture. University of California Press]. During his trip to Congo (now Democratic Republic of Congo), Elisofon visited the Lega people at Shabunda and its surroundings in the Maniema district. This photograph was taken when Eliot Elisofon was on assignment for American Broadcasting Company and traveled to Africa from early December 1966 to early February 1967.

Local Numbers:

T 3 LGA 1.2 EE 67

General:

Citation source: Dr. Elisabeth L. Cameron, Fowler Museum of Cultural History, UCLA.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

"Art of the Lega: Meaning and Metaphor in Central Africa," held by The Nelson-Atkins Museum of Art, from October 5, 2002 through May 4, 2003. LL02-0215

Local Note:

Frame value is 33.

18

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Vernacular architecture  Search this

Aerial photography  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 16758

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Congo (Democratic Republic) / EECL / Shabunda, Congo (Democratic Republic)

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo73ff0dce5-7853-483d-a351-6189742385cf

EDAN-URL:

ead_component:sova-eepa-1973-001-ref8089

Photographer:

Elisofon, Eliot  Search this

Collection Photographer:

Elisofon, Eliot  Search this

Extent:

1 Slides (photographs) (col.)

Culture:

Lega (African people)  Search this

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Congo (Democratic Republic)

Date:

1967

Scope and Contents:

"The Lega village (kyumo) is traditionally built on a hill in a more or less natural clearing 'kilungulabo' of primary rain forest. It consists of two parallel rows (mikeke) of contiguous huts, a plan that creates an impression of longhouses. The open space (mulungu) between the two rows of houses serves as main street, a dance floor, and a public place." [Biebuyck D., 1973: Lega Culture. University of California Press]. During his trip to Congo (now Democratic Republic of Congo), Elisofon visited the Lega people at Shabunda and its surroundings in the Maniema district. This photograph was taken when Eliot Elisofon was on assignment for American Broadcasting Company and traveled to Africa from early December 1966 to early February 1967.

Local Numbers:

T 3 LGA 32 EE 67

General:

Citation source: Dr. Elisabeth L. Cameron, Fowler Museum of Cultural History, UCLA.

Title is provided by EEPA staff based on photographer's notes.

Exhibitions Note:

"Art of the Lega: Meaning and Metaphor in Central Africa," held by The Nelson-Atkins Museum of Art, from October 5, 2002 through May 4, 2003. LL02-0215

Local Note:

Frame value is 30.

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Vernacular architecture  Search this

Genre/Form:

Color slides

Collection Citation:

Eliot Elisofon Field Collection, EEPA 1973-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution

Identifier:

EEPA.1973-001, Item EEPA EECL 16794

See more items in:

Eliot Elisofon Field collection

Eliot Elisofon Field collection / Congo (Democratic Republic) / EECL / Bashi Village, Congo (Democratic Republic)

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7b5d0e95e-d227-404c-be29-7a674453319c

EDAN-URL:

ead_component:sova-eepa-1973-001-ref8129

Artist:

Broderson, Morris 1928-2011  Search this

Publisher:

Downtown Gallery (New York, N.Y.)  Search this

Supporting host:

Ankrum Gallery  Search this

Author:

Smithsonian Libraries Art and Artist Files Collection  Search this

Physical description:

1 folded sheet (6 unnumbered pages) cover Illustration 22 x 42 cm folded to 22 x 15 cm

Type:

Books

Exhibitions

Exhibition catalogs

Artist files

Date:

1963

Call number:

AAF--Broderson, M

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_904177

Artist:

Mario Cooper  Search this

Astronaut:

Neil A. Armstrong  Search this

Medium:

Drawing, Felt Tip Pen on Paper

Dimensions:

2-D - Unframed (H x W): 27.3 x 21cm (10 3/4 x 8 1/4 in.)

Type:

ART-Drawings

Country of Origin:

United States of America

Credit Line:

Transferred from the National Aeronautics and Space Administration

Inventory Number:

A19760201000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv909af6201-e95f-4f13-88eb-1d4075852ac7

EDAN-URL:

edanmdm:nasm_A19760201000

Creator:

Knez, Eugene I. (Eugene Irving), 1916-2010  Search this

Names:

East China Seas Program  Search this

Korean National Museum of Anthropology  Search this

National Folk Museum of Korea  Search this

National Museum of Korea  Search this

Extent:

57.6 Linear feet

Type:

Collection descriptions

Archival materials

Place:

Korea

Tibet

Bhutan

East Asia

Nepal

Date:

circa 1920–2000, With Information Dating Back to 1481

Summary:

The Knez papers include material concerning many aspects of his career up to the time he retired from the Smithsonian. Of particular strength is the documentation of Asian exhibits, both temporary and permanent ones installed during his time at the Institution. There is also considerable material concerning specimens and collections acquired earlier. Material concerning Knez's work as a field researcher, bibliographer, and editor are also among the papers. After his retirement, Knez became involved in a study of Buddhism among the Tibetans living in India. Copies of film made for this study have been deposited in the Human Studies Film Archives. It should be noted that the papers represent only a portion of the Knez papers, for he has retained some of them.

Scope and Contents:

Knez was not a prolific writer. Though his research encompassed East and Southeast Asia, his field expeditions for collections and his charge to establish the first permanent Asian halls while at the Smithsonian limited his scientific writings to documentation required for Smithsonian exhibitions and his ongoing interest in the material culture of Sam Jong Dong and The Three Ministries, located in the Kimhae region of southeast Korea. To overcome Asian language barriers, Knez had to utilize informants, Korean scholars, and translators in order to carry out his research. The materials that he collected or were forwarded to him about Asia, however, represent an impressive body of information that researchers of Southeast Asia would want to review for general studies. Of special importance would be the information about culture around the South China Sea, and especially studies about Korean and Japanese ethnology and anthropology, the pre-colonial and colonial period, the period right after World War II, the Korean War, and changes in Korean agricultural farming life, from the early 1900s through the 1980s. A knowledge of Chinese calligraphy, Korean Hangul, and pre-World War Two Japanese (Taisho and Showa Periods) are required to understand the complete record documenting Korean history.

These papers contain detailed correspondence and memoranda, documenting Knez's professional life as a curator of anthropology at the Smithsonian Institution. Visual images, photographs, slides, videotapes, film, and sound recording as well as research information and correspondence provide a complete record of the exhibitions that Knez established at the Smithsonian. Correspondence, memoranda, and photographs provide a less complete picture of Knez's activities before his appointment as curator. There is a very strong and complete record of his activities while stationed in Korea after World War II and during the Korean War. This material includes correspondence, photographs and film footage. Knez also brought out of Korea photographs that were taken by the Japanese during the colonial period. There is also film footage taken around 1946 on Cheju Island. In addition, there are postcards and photo cards that contain a rich visual image of Korea dating back before the 1920s.

The largest series within these papers contains Knez's material culture research on Korea. This series includes field notes, interviews, transcriptions, correspondence, photographs, publications and translations about Korean history dating back to 1481, Japanese publications and translations regarding anthropomorphic and agricultural studies of Koreans and Korean agricultural life, and Knez's draft publications. There is a large series of photographs and slides documenting Asian art collections as well as Asian cultures. The Knez Papers also includes a phonograph record collection which is not dated and contains Korean and Japanese opera and folk songs. In addition, there is a collection of Confucius teachings, school books, and genealogy written in Chinese calligraphy and Hangul.

The arrangement of these papers and the file folders within the series are not always well ordered. Multiple accessions were transferred to the National Anthropological Archives. Where subject information was the same, folders were filed into existing series developed in the 1970s and 1980s. In similar fashion, individual items that were not within folders were interfiled in existing folders that contained the same information.

The research series (series six), which primarily documents Knez's research activities and information he received or collected on Korea has some provenance. The material was reboxed several times, but there remains segments of information that are completely related. At other times, there is no logical relationship between one group of files and the next. Most of the folders were never dated. Therefore, it is difficult to understand the different periods in Knez's life when he worked on his Korean studies, without going through the entire series. Photographs are not always dated. Only a very small number were used in Knez's 1997 publication (where they are dated), The Modernization of Three Korean villages, 1951-1981 (Smithsonian Institution Press).

Most of the series within these papers contain different aspects of Knez's interest in Asia, and in particular, his focus on Korea. For example, correspondence regarding Knez's activities during his stay in Korea after World War II and during the Korean War will be found in series two, Subject File; photographs documenting the same time period will be found in series six, Research Projects, and series thirteen, Biographical and Autobiographical Material. And, series ten, Motion Picture Film and Sound Recordings, contain visual images of Knez's activities in Korea during 1946, 1950-1951.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

The collection is arranged into fourteen (14) series:

SERIES 1.Accession Correspondence and Information and Examination and Reports of Collections, 1959-1977 and undated, with information dating back to 1893, boxes 1-4

SERIES 2.Subject File, 1937-1999 and undated, with information dating back to 1852, boxes 4-32

SERIES 3.Professional and Non-Professional Association Material, 1955-1980, with information dating back to 1896, boxes 33-36

SERIES 4.Exhibitions, 1960-1977 and undated, with information dating back to 1876, boxes 36-43

SERIES 5.Research Grants, 1963-1981 and undated, with information dating back to 1884, boxes 43-46

SERIES 6.Research Projects, 1909, 1929-2000 and undated, with information dating back to 1481, boxes 47-115

SERIES 7.Geographical and Publications Files, 1929-1977 and undated, boxes 116-139

SERIES 8.Korean and Chinese Writings, boxes 140-141

SERIES 9.Collection and Research Photographs, 1946-1977 and undated, boxes 142-161

SERIES 10.Motion Picture Film and Sound Recordings, 1946-1978 and undated, boxes 162-164

SERIES 11.Phonograph Recordings, 1959- and undated, with recordings possibly dating back to the 1940s, boxes 165-170

SERIES 12.Invitations and Greetings, box 171

SERIES 13.Biographical and Autobiographical Material, Family Photographs, and Notes, circa 1920s-1997 and undated, boxes 172-174

SERIES 14.Oversize, 1952-1971 and undated, box 175 and oversize map case drawers

Biographical / Historical:

Eugene I. Knez was born Eugene Irving Knezevich on May 12, 1916, in Clinton, Indiana, where he graduated from high school in 1935. His mother and father, Ida and Sam Knezevich, were divorced in 1932, and in 1936, his mother married Edward P. Pearson. The family moved to California where Knez enrolled in pre-medical studies at Los Angeles City College. Knez transferred to the University of New Mexico (UNM), but before completing his studies, returned to Indiana to be with his father, who was ill. There, Knez enrolled at Indiana University. Since Indiana University did not offer courses in anthropology, Knez took classes in sociology and psychology so that he could fulfill the requirements of UNM. Upon completion of his course work at Indiana University, UNM awarded Knez a B.A. in 1941.

While attending the University of New Mexico, Knez was primarily interested in the Native American Indian. During the summer of 1939 he was appointed Park Ranger-Historian in the National Park Service at Coolidge, Arizona. When he returned to Indiana to be with his father, Knez found a summer job as an assistant to a psychologist, who was testing inmates at the Indiana State Farm.

Knez was drafted as a private in the United States Army in 1941. He was promoted to sergeant in 1942 and during that same year was selected for Officer's Candidate School. Knez graduated OCS as a second lieutenant. Knez was trained and later moved into personnel classification and assignment sections in various divisions before and during World War II. In 1945, he was promoted to captain while in a combat support unit on Saipan.

At the end of the war Knez was assigned to Korea. This assignment began a pivotal sequence of events in his life. With his background in anthropology, Knez was placed in charge of the Army's Bureau of Culture, National Department of Education, United States Military Government in Korea headquartered in Seoul. His responsibilities included the restoration of cultural and religious activities, including museums. At the Bureau, Knez developed a sensitivity towards Korea and her people in the aftermath of Japanese colonialism. Knez undertook the restoration of Admiral Yi's large inscribed boulder and a Buddhist pagoda that had been partially dismantled by the Japanese. He established The National Museum of Anthropology (which became the National Folk Museum). In 1946 Knez sponsored an expedition to Cheju Island to collect ethnographic artifacts and record music for the Museum. During that year he also received permission to excavate two royal Silla Tombs at Kyonju with staff from the National Museum of Korea (NMK). This was the beginning of an endearing association with Korea and her people, which culminated in Knez receiving the award of The Order of Cultural Merit (gold medal) in 1995 from the Republic of Korea.

Knez was discharged from the United States Army in 1946. From 1947 to 1948, he attended Yale University as a research assistant in anthropology and worked at the Peabody Museum. He then joined the federal government and from 1949 to 1953 Knez served as a Cultural Affairs and Public Affairs officer at the American embassies in Korea and Japan. From 1949 to 1951, Knez was chief of Branch Operations, United States Information Agency, first headquartered in Seoul and then moving from Seoul to Pusan with the invasion by North Korea.

During his assignment in Korea, Knez undertook several major activities that had a profound effect on his life. With the approaching North Korean forces getting ready to invade Seoul for the second time, Kim, Chewon, director of the National Museum of Korea, approached Knez and made a personal request to help save the Museum's treasures. Though Knez was a war time member of the American Embassy he undertook the task without receiving official permission. He coordinated the movement of the Museum and Yi dynasty collections and some of the Museum staff by having them shipped by railroad boxcar from Seoul to Pusan.

During the fighting Knez began his ethnographic material culture research at Sam Jong Dong in the Kimhae region north of Pusan. When it appeared in 1951 that the United Nations was losing the war, Knez received permission to spend two months of his home leave to stay in Korea to continue his research. This study was to continue into the 1990s.

While in Pusan, Knez recommended that two dinners be held to help the morale of Korea's cultural leaders, those who were refugees from Seoul. One dinner was to be for the older generation and the second for younger Korean scholars and members of the cultural community. At the second dinner, Knez met his future bride, Choi, Jiae, a highly regarded Korean actress.

During 1951, Knez was transferred to Tokyo as Policy and Program officer for the United States Information Agency. In 1952 he was assigned as the USIA regional Public Affairs officer in Fukuoka.

In 1953, Knez left the USIA and joined the staff at Hunter College, located in the Bronx, New York, first as a lecturer and then as an instructor. While teaching at Hunter, Knez attended graduate school at Syracuse University. In 1959, he received a Doctor of Social Science Degree in anthropology from the Maxwell School of Citizenship and Public Affairs. Knez's thesis was Sam Jong Dong: A South Korean Village. During the school year 1968-1969, the Maxwell School went from awarding the D.S.Sc. degree to the Ph.D. In 1970, Knez successfully petitioned the School to have his degree changed.

In 1959, Knez was appointed Associate Curator of Anthropology at the Smithsonian Institution. He was given the responsibility for Asian ethnology and was assigned the task of establishing the first permanent Asian exhibitions in two halls at the United States National Museum (later, the National Museum of Natural History). At the time, the Asian collections available for the halls were poor or non-existent. Knez began his first of several field expeditions to augment the Museum's artifact and cultural collections. Almost all of the Asian exhibitions that he planned had to have collections taken directly from the field.

The first permanent exhibition was opened in 1961 and contained information on the South Asian World in Miniature, India and Pakistan. During the year two more exhibitions were completed, documenting India, Pakistan, and Thailand. In 1962, Knez completed fifteen more exhibitions; he completed eight in 1963 and 1964; one in 1965; and one in 1967. The themes for the exhibitions included China, Japan, Iran, Korea, Tibet, Thailand, Malaysia, Cambodia, Laos, Pakistan, India, East Africa, North Africa and the Middle East, Islam, and Buddhism.

From 1963 through 1973, Knez put together additional temporary exhibitions, which included themes on Korea, China, India, Japan, Bhutan, and acquisitions of Hindu and Buddhist sculpture. In 1967, Knez provided the objects and created the documentation for the United States Department of State exhibition honoring the visit of the King and Queen of Thailand. Knez developed an exhibition about Korea, which went on display between 1977 and 1979 and was coordinated by the Smithsonian Institution Traveling Exhibition Service.

Knez retired from the Smithsonian in November 1978 and was appointed Anthropologist Emeritus in 1979. Knez moved to Hawaii and developed ties with the University of Hawaii as a visiting scholar at the Center for Korean Studies. Knez continued his research on the Kimhae region, and in 1993, published his revised, The Modernization of Three Korean Villages, 1951-81: an Illustrated study of a people and their material culture.

May 12, 1916 -- Born

1935 -- Graduated High School

1941 -- Drafted, Private, United States Army B.A., University of New Mexico

1942 -- Officer's Candidate School, 2nd Lieutenant, United States Army

1945 -- Promoted to Captain, United States Army

1945-1946 -- United States Army, In charge, Bureau of Culture, National Department of Education, Seoul, Korea

1946 -- Excavation, National Museum of Korea, Royal Silla Tomb, Kyongju Ethnographic and Geographic Survey, National Folk Museum of Anthropology, Korea, Cheju Island

August 1946 -- Honorable Discharge, United States Army

1947-1948 -- Yale University, Peabody Museum, Research Assistant in Anthropology

1947 -- Study of American Indian Shaker cult, Washington State Museum, Seattle

1949 -- Changed Name from Knezevich to Knez

1949-1951 -- Wartime Center Director, United States Information Service, Pusan, Korea

1951 -- Shipment of National Museum of Korea Collections and Staff from Seoul to Pusan

1951-1952 -- Ethnographic Study of Kimhae Area, Korea, towards a dissertation

1952-1976 -- United States Army Reserve (retired as Full Colonel)

1953-1959 -- Lecturer and Instructor, Hunter College, New York

1959 -- Fellow, American Anthropological Association D.S.S.C. (later, Ph.D.) Syracuse University Anthropologist, Smithsonian Institution

1961-1962 -- Overseas Collecting Trips to Asia

1961 -- First Asian Exhibition Installation

1962 -- Letter of Appreciation, Republic of Korea

1965 -- Smithsonian Special Act (Development of Asian Collections) Award

1966 -- Member of the United States Museums Advisory Delegation Planning Meeting for the Establishment of a Korean National Science Museum Center, Seoul

1970 -- Award, Korean Village Study, Smithsonian Institution, Secretary's Fund

1971 -- Exhibition, A Korean Village: Its Changing Culture, which was later adapted as a traveling exhibition in the United States and Canada

1974 -- Exhibition, Bhutan: The Land of Dragons

1975 -- Invited Participant, Pakistan-Sind Government International Seminar

1977 -- Exhibition, Arms and Armor of Japan

1978 -- Retired, Smithsonian Institution Fellow, The Explorers Club, New York

1979 -- Anthropologist Emeritus, Smithsonian Institution Award, Himalayan Project, Tibetan Buddhism and Its Role in Society and State, National Endowment for the Humanities, which led to a publication by Knez with Franz Michael

1981 -- Award, Fulbright Senior Scholar, Korea, Council for International Exchange of Scholars

1995 -- Presentation of The Order of Culture Merit (Gold Medal), Republic of Korea

Related Materials:

The National Anthropological Archives holds Franz H. Michael and Eugene I. Knez photographs and sound recordings relating to Tibetan Buddhism in northeastern India (NAA.PhotoLot.80-13).

Separated Materials:

The motion picture film was transferred to the Human Studies Film Archives in 2002 (HSFA.2002.09).

Provenance:

Most of the papers were donated to the National Anthropological Archives by Dr. Knez in 1978. There have been additional accretions since then.

Restrictions:

The Eugene Irving Knez papers are open for research.

Access to the Eugene Irving Knez papers requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Village life -- Korea  Search this

Language and languages -- Documentation  Search this

Citation:

Eugene Irving Knez papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1980-22

See more items in:

Eugene Irving Knez papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw35632d487-40c6-4e14-9b21-bab85debd8dd

EDAN-URL:

ead_collection:sova-naa-1980-22

Creator:

Northlight of Colorado, Inc.  Search this

Jacobson, Jake  Search this

Extent:

8 Prints (framed)

3.42 Cubic feet (2 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Prints

Photographs

Sound recordings

Inkjet prints

Iris prints

Ink jet printing

Compact discs

Digital images

Cd-roms

Color prints (photographs)

Date:

1996-2000

Summary:

Collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004.

Scope and Contents:

The collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004. The materials are arranged into two series.

Series 1: Iris (Inkjet) Digital Photoprints, dates, consists of eighty six color Iris (inkjet) items. The subjects are primarily individual musicians and craftsmen, although several instrument companies are included, notably the venerable Selmer Company of Elkhart, Indiana, which has manufactured band instruments for many decades. These digital prints were made from Jacobson's 35mm color transparencies (although print number one is monochrome, rather than full color). The prints are from a limited edition of 350, and are signed by the photographer in the lower right beneath the image, and numbered on the lower left. Some prints bears Northlight Atelier blind stamp in the margin and an identifying label with the print number and subject's name is affixed to each print on the verso at the bottom. Most of the prints have an image size of 20" in the long dimension and from approximately 13-1/4" to 14-1/4" on the short side; on heavy, textured archival paper, ranging in size from about 16"x 23" to 19"x 24". Eight larger prints, with image sizes of approximately 21-22" x 31-32" in size, were received matted and in 28" x 40" frames. Some representative image and print sizes are included. Most prints are in one large flat box; prints in the "folder" are stored separately because the paper is slightly too large for the box. The large framed prints are necessarily stored separately and are less accessible.

Series 2: Other Materials, dates, includes a loose-leaf notebook containing inventory of the Smithsonian Institution Traveling Exhibition Services (SITES) exhibit prints with titles and thumbnail images for identification (except item 55, which is omitted), plus a CD-ROM containing the images in pocket. Note that the images for numbers 81 and 85 in the notebook are reversed. There is also a compact disk in plastic jewel case of the same name ("Heart & Hands: Musical Instrument Makers of America"), which contains sixty tracks of instrument makers playing their instruments and interviews with some of them. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks.

Arrangement:

The collection is divided into two series.

Series 1, Iris (Inkjet) Digital Photoprints

Series 2, Other Materials

Biographical / Historical:

"Heart & Hands: Musical Instrument Makers of America" was an exhibition of photographs by Jake Jacobson, circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004 to at least fourteen venues. The first site was April 8, 2000, at the Georgia Mountains History Museum, and the last venue for the show was the Elkhart County Historical Museum, Bristol, Indiana, ending April 6, 2004. Selections from the exhibition were on view from June 4 to 8, 2001, in the Rotunda of the Russell Senate Office Building, and it was shown in the Smithsonian's Arts and Industries building, March 2-April 28, 2002.

The field work for the project was begun in 1996, culminating in 1998. "Traveling coast to coast, in an extensive two-year journey across the United States, Jake Jacobson and research collaborator Trisja Malisoff recorded the images, words, and music of over 300 contemporary musical instrument makers. Documenting the diversity of American music, Jacobson's photographs reveal a complex, living tradition-a heritage that draws upon Latin, Native American, European, African and Asian music influences."

Following this project, Jacobson engaged in a related photographic documentation, "Heart & Hands: Musical Instrument Makers of China." He has established a "Heart & Hands Foundation." Music has been an important part of Jacobson's life throughout his career as a photographer, printmaker, and jazz musician. During the mid-1960s he operated a backyard print shop, producing rock concert posters. As an advertising and editorial photographer, he pioneered new techniques for special effects and printmaking. His continuing passion for photographing musical artists is evident in the portraits in the "Heart & Hands" project.

A graduate of Brooks Institute of Photography, Jacobson has taught photography at UCLA and Cypress College in Orange County. A longtime practitioner and teacher of Yoga, he is the owner of the Center for Yoga in Los Angeles. He operated a "state-of-the-art" photography, printmaking, and video production studio, Northlight of Colorado, in the mountains near Telluride, Colorado, before relocating the Northlight Atelier to Santa Barbara, California, in 2003.

Another project of Jacobson's is entitled, "Oh, Baby--Celebrating Birth Rites around the World."

Provenance:

Collection donated by Mr. Jacobson.

Restrictions:

The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.

Technical Access: Do not use original

Rights:

Jake Jocobson retains copyright. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Musical instruments -- 20th century  Search this

Musical instrument makers  Search this

Genre/Form:

Photographs -- Inkjet prints -- 1990-2000

Sound recordings -- Compact disks

Inkjet prints

Photographs -- Digital prints -- 20th century

Iris prints

Ink jet printing

Compact discs

Digital images

CD-ROMs

Color prints (photographs)

Citation:

Jake Jacobson "Heart & Hands" Color Iris Photoprints, Archives Center, National Museum of American History,

Identifier:

NMAH.AC.0866

See more items in:

Jake Jacobson "Heart & Hands" Color Iris Photoprints

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e49666db-ef2c-40a1-ad9a-ee43e0d5f3e7

EDAN-URL:

ead_collection:sova-nmah-ac-0866