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National Portrait Gallery  Search this

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National Portrait Gallery

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Smithsonian American Art Museum  Search this

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Symposia

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Smithsonian American Art Museum  Search this

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2009-01-16T14:38:25.000Z

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Smithsonian American Art Museum  Search this

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2023-03-02T18:38:20.000Z

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Smithsonian American Art Museum  Search this

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Conversations and talks

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2014-01-11T08:12:01.000Z

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Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

Interviews

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2020-07-29T23:34:24.000Z

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Freer Gallery of Art and Arthur M. Sackler Gallery

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edanmdm:yt_8NpEdXNb1fE

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Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

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Lectures

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2021-03-18T14:00:23.000Z

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Smithsonian American Art Museum  Search this

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2019-02-07T22:20:56.000Z

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Smithsonian American Art Museum  Search this

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2013-05-17T18:34:55.000Z

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Smithsonian American Art Museum  Search this

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Lectures

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Collection Creator:

Yoshida, Ray  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

circa 1982-circa 1999

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate copy requires advance notice. One box of letters from Jim Nutt are ACCESS RESTRICTED; use requires written permission.

Collection 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.

Collection Citation:

Ray Yoshida papers, circa 1895-2010, bulk 1950-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Ray Yoshida papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

See more items in:

Ray Yoshida papers

Ray Yoshida papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93e277b7f-ebf5-45cc-b5f6-f6b243d2b7a8

EDAN-URL:

ead_component:sova-aaa-yoshray-ref11

Creator:

Brooks, James, 1906-1992  Search this

Names:

Kootz Gallery (N.Y.)  Search this

New York University -- Students  Search this

Southern Methodist University -- Students  Search this

United States. Army  Search this

Bolotowsky, Ilya, 1907-1981  Search this

Gottlieb, Adolph, 1903-1974  Search this

Guston, Philip, 1913-1980  Search this

King, William, 1925-2015  Search this

Park, Charlotte  Search this

Extent:

20.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Date:

1909-2010

bulk 1930-2010

Summary:

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Scope and Contents:

The papers of Abstract Expressionist painters James Brooks and Charlotte Park measure 18.7 linear feet and are dated 1909-2010, bulk 1930-2010. Correspondence, subject files, personal business records, printed material, and a sound recording document his painting career, interests, professional and personal activities. Also found are biographical materials, interviews, writings, and art work. The collection also includes papers of his wife, Abstract Expressionist painter Charlotte Park, regarding her painting career, personal life, activities as executor of James Brooks' estate, and some material concerning the James Brooks and Charlotte Park Brooks Foundation. There is a 1.4 linear foot addition to this collection donated in 2017 that includes 58 "week-at-a-glance" appointment books, three journals and one address/ telephone book of Charlotte Park; a hand written chronology with significant dates and notes; postcards and exhibition announcements sent to Charlotte and James; doodles; and a sketch, possibly by Don Kingman.

Biographical materials include biographical notes and documents such as copies of birth and death certificates, curricula vitae, family history. Educational records are from Southern Methodist University and documentation of flight training courses at New York University. Brooks' military service in World War II is well documented by United States Army records with related correspondence. Also found is extensive documentation of his death and funeral.

Professional and personal correspondence is addressed to Brooks, the couple, and to Charlotte Park during the later years of Brooks' life when she managed his affairs. A significant amount of correspondence is categorized as art, autograph requests, personal, and teaching; also include is general correspondence that overlaps all categories. Art correspondence with museums, galleries, collectors, artists, and friends concerns exhibitions, Brooks' work, and invitations to exhibit, speak, or serve as a juror. Of note is the correspondence with Samuel M. Kootz Gallery. The personal correspondence is mainly social, and teaching correspondence consists largely of requests that he teach in summer programs, serve as a visiting artist/critic.

Six interviews with James Brooks are in the form of published and unpublished transcripts; a seventh is a sound recording with no known transcript. Charlotte Park participates in one interview.

Writings by Brooks are statements about his work and a tribute to Ilya Bolotowsky. Among the writings by others about Brooks are a catalog essay, academic papers, and lecture; also found are a few short pieces on miscellaneous topics. Three diaries include brief entries regarding his work, exhibitions, and activities.

Subject files maintained by Brooks concerning organizations, exhibitions, mural projects, a commission and teaching document his professional activities, relationships and interests. Personal business records concern appraisals, conservation, gifts, insurance, loans, sales, shipping, and storage of artwork. Gallery records include agreements, consignments, lists, and receipts. Also, there are accounts for lettering work and personal income tax returns.

Printed material is mostly exhibition announcements, invitations, catalogs, and checklists, as well as articles and reviews. The majority are about/mention Brooks or include reproductions of his work; some concern artist friends, former students, and others.

Artwork by Brooks consists of pencil and ink drawings, two sketchbooks, and "telephone doodles." Other artists include Adolph Gottlieb (ink drawing of sculpture), Philip Guston (three pencil drawings of Brooks), and William King (two silhouettes of Brooks).

Photographic materials (photographs, digital prints, negatives, slides, and color transparencies) provide extensive documentation of Brooks' artwork and, to a lesser extent, exhibitions.There are pictures of Brooks as a very young boy, though the most views of him date from the 1930s through 1980s, and with friends. Places include Brooks' homes and studios in Montauk, New York and the Springs, East Hampton, New York; travel to Maine, Oregon and California. Views of the Middle East from World War II show Brooks with colleagues, local people engaged in daily activities, and scenery. Also of note are a copy print of "The Irascibles" by Nina Leen, and attendees at the dedication of Flight dining in view of Brook's LaGuardia Ariport mural.

Charlotte Park papers document the professional career and personal life of the Abstract Expressionist painter, art teacher, and wife of James Brooks through correspondence, personal business records, exhibition records, printed material, and photographs. In addition, this series documents artwork in the estate of James Brooks and posthumous exhibitions. Twelve years younger than her husband, Park began handling business matters for him as he aged and developed Alzheimer's disease. She also served as his executor. In the 1990s, a curator assumed management of the artwork and loans for exhibitions. After the James Brooks and Charlotte Park Brooks Foundation was established in 2000, its director handled most business activities. Some copies of Foundation minutes and correspondence are found among Park's papers.

Arrangement:

The collection is arranged in 11 series:

Missing Title

Series 1: Biographical Materials, 1924-1995 (Box 1, OV 19; 0.6 linear feet)

Series 2: Correspondence, 1928-1995 (Boxes 1-3; 1.7 linear feet)

Series 3: Interviews, 1965-1990 (Box 3; 0.2 linear feet)

Series 4: Writings, 1952-1999 (Box 3; 0.4 linear feet)

Series 5: Diaries, 1975-1984 (Box 3; 0.1 linear feet)

Series 6: Subject Files, 1926-2001 (Boxes 3-5, OV 20; 2.0 linear feet)

Series 7: Personal Business Records, 1932-1992 (Boxes 5-6; 1.0 linear feet)

Series 8: Printed Material, 1928-1992 (Boxes 6-11, OV 21-OV 22; 4.8 linear feet)

Series 9: Artwork, 1930s-1992 (Box 11; 0.2 linear feet)

Series 10: Photographic Materials, 1909-2000s (Boxes 11-15; 4.1 linear feet)

Series 11: Charlotte Park papers, 1930s-2010 (Boxes 15-18, OV 23; 3.6 linear feet)

Series 12: Unprocessed Additition, circa 1930-2010 (Boxes 25-26; 1.4 linear feet)

Biographical / Historical:

James Brooks (1906-1992) and Charlotte Park (1919-2010) were Abstract Expressionist painters in East Hampton, N.Y. A native of St. Louis, Missouri, Brooks spent his childhood in Colorado, Oklahoma, Illinois, and Texas. He begn drawing as a young boy, finding inspiration in magazine illustrations and comic strips. Before moving to New York City in 1926, he studied at Southern Methodist University (1923-1924) and at the Dallas Art Institute.

In New York, Brooks studied illustration at the Grand Central Art School. After exposure to museums led him to differentiate between illustration and fine art, Brooks enrolled at Art Students League. During this period he supported himself by doing lettering for magazine advertisements. From 1936-1942 he participated in the WPA Federal Art Project, executing murals at Woodside Library, Queens, New York (destroyed); the Post Office, Little Falls, New Jersey; and his famous Flight at LaGuardia Airport's Marine Air Terminal (painted over in the 1950s and restored in 1980).

During World War II Brooks served in the United States Army as an art correspondent in Cairo. When at the Office of Special Services, Washington, DC, he met Charlotte Park who worked there as a graphic artist and later became his wife. The couple moved to New York City in 1945 and married in 1947. Brooks resumed friendships with artists he knew from the WPA including Philip Guston, Bradley Walker Tomlin, and Jackson Pollock. Brooks and Park were especially close with Pollock and Lee Krasner; after they moved to Long Island, Brooks and Park, soon followed, first to Montauk and later to the Springs, East Hampton, New York.

By the late 1940s, Brooks had turned away from figural painting in the social realist style and moved toward abstraction. In the early 1950s, he was experimenting with enamel, gouache, and diluted oil paints, staining various grounds in ways that produced interesting shapes, adding spontaneous splashes of color over which he painted more deliberately. In the 1960s he switched to acrylics, leading to wider use of color and broader strokes.

Peridot Gallery presented Brooks' first solo exhibition in 1949. He helped organize and participated in the famous Ninth Street Show of 1951, earning critical acclaim. This assured him a place in two of the Museum of Modern Art's most important exhibitions of the period, Twelve Americans (1956) and New American Painting (1958). He showed at the Stable Gallery, Kootz Gallery, Martha Jackson Gallery and others. During his lifetime Brooks enjoyed five traveling retrospective exhibitions.

Prizes and awards included Carnegie Institute's Pittsburgh International Exhibition 5th prize for painting (1952), The Art Institue of Chicago's 62nd American Exhibition Logan Medal and Prize for Painting (1957) and 64th American Exhibition Harris Prize (1961), The National Arts Club Medal (1985), and a citation of appreciation for Flight from The North Beach Club Marine Air Terminal, LaGuardia Airport (1986).

Brooks taught for nearly three decades: drawing at Columbia University (1947-1948) and lettering at Pratt Institute (1948-1955); was a visiting critic, Yale University (1955-1960), University of Pennsylvania (1971-1972), and Cooper Union (1975); and served on the Queens College faculty (1966-1969). In addition, he was an artist-in-residence at The American Academy in Rome (1963), the recipient of a Guggenheim Fellowship (1969), and a National Endowment for the Humanities Grant (1973).

Brooks developed Alzheimer's disease around 1985 and died in East Hampton, New York in 1992.

Charlotte Park graduated from the Yale School of Fine Art (1939) and during World War II, when working in Washington, D.C., she met James Brooks. They moved to New York City in 1945, where she studied with Australian artist Wallace Harrison. Park taught children's art classes at several private schools in the early 1950s and at the Museum of Modern Art, 1955-1967.

Park's approach to Abstract Expressionism featured curved or linear shapes with vibrant colors and dynamic brushstrokes. Tanager Gallery presented her first solo show in 1957 and her work was included in numerous group exhibitions from the 1950s through 2000s, mainly in New York City and Long Island. After Park's second solo exhibition, held in 1973 at Elaine Benson Gallery, Bridgehampton, New York, interest in her work revived; other one-person shows followed at Guild Hall (1979), Ingber Gallery (1980), and paired with James Brooks at Louise Himelfarb Gallery. The National Institute of Arts and Letters honored Park with its Art Award in 1974. Her work is in the permanent collections of the Parrish Art Museum, Guild Hall Museum, Telfair Museum of Art, and in many private collections.

Charlotte Park died in 2010.

Related Materials:

Also among the Archives of American Art's holdings are letters from James Brooks and Sean Scully, 1980-1989 addressed to Theodora ["Teddy"] S. Greenbaum, and an oral history interview with James Brooks conducted by Dorothy Seckler, 1965 June 10 and June 12.

Separated Materials:

Correspondence, interview transcripts, photographs, and printed material were loaned by James Brooks for microfilming in 1969 (reel N69-132). With the exception of an address book, a scrapbook, and a few photographs, Brooks donated almost all of the loan in 1979.

Provenance:

The majority of the collection was donated in 2013 by the James Brooks and Charlotte Brooks Foundation and an additional 1.4 linear feet donated 2017 by the Foundation. In 1979 James Brooks donated most of the material lent for microfilming in 1969.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

World War, 1939-1945  Search this

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

Abstract expressionism  Search this

Genre/Form:

Sketchbooks

Sound recordings

Transcripts

Interviews

Drawings

Photographs

Diaries

Citation:

James Brooks and Charlotte Park papers, 1909-2010, bulk 1930-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.broojame

See more items in:

James Brooks and Charlotte Park papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw948fd3af3-1ae9-4a9a-af05-4ef35e505b4a

EDAN-URL:

ead_collection:sova-aaa-broojame

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box 1, Folder 27

Type:

Archival materials

Date:

circa 2001

Collection 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.

Collection 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.

Collection Citation:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 3: Writings

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9384779e1-96f2-4a82-87dd-3d5aa0bac7e8

EDAN-URL:

ead_component:sova-aaa-davijaim-ref28

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box 2, Folder 6

Type:

Archival materials

Date:

2005-2006

Collection 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.

Collection 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.

Collection Citation:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 5: Project and Source Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c57554fb-b864-4629-b50c-a31067e9d2d7

EDAN-URL:

ead_component:sova-aaa-davijaim-ref50

Collection Creator:

Davidovich, Jaime, 1936-2016  Search this

Container:

Box 2, Folder 27

Type:

Archival materials

Date:

circa 1970-1986

Scope and Contents:

Includes articles about Davidovich, SoHo, garbage art, and art events.

Collection 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.

Collection 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.

Collection Citation:

Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.

See more items in:

Jaime Davidovich papers

Jaime Davidovich papers / Series 7: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bf5c2d6b-fa28-489c-ad01-900bac4d13c7

EDAN-URL:

ead_component:sova-aaa-davijaim-ref62

Collection Creator:

De Forest, Roy, 1930-2007  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1972-2005

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Citation:

Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.

See more items in:

Roy De Forest papers

Roy De Forest papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a74705a6-cd3f-4e99-ba60-fbc9f0831626

EDAN-URL:

ead_component:sova-aaa-deforoy-ref10

Creator:

Camblin, Bob Bilyeu, 1928-2010  Search this

Names:

Staley, Earl, 1938-  Search this

Tate, Joe  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Drawings

Moving images

Date:

1951-1985

Summary:

The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.

Scope and Contents:

The Bob Bilyeu Camblin papers measure 3.1 linear feet and date from 1951 to 1985. The papers provide a snapshot of Camblin's career as an artist and educator through personal papers, printed material, artwork, photographs, and motion picture film and video recordings.

Personal papers include resumes and printed material such as exhibition catalogs and announcements and clippings. Camblin's artwork includes sketches, expressive writings, drawings, and prints. Photographic material includes images of artwork, friends, family, trips, and miscellany; and moving images include home videos of art, art techniques, leisure activities, and autobiographical films.

Arrangement:

This collection is arranged as 4 series.

Series 1: Personal Papers, 1951-1985 (5 folders; Box 1)

Series 2: Artwork, 1951-1985 (8 folders; Box 1)

Series 3: Photographs, 1951-1980 (1 linear foot; Box 1, 2)

Series 4: Moving Images, circa 1970-1976 (1.8 linear feet; Box 2; FCs 3-19)

Biographical / Historical:

Bob Bilyeu Camblin (1928-2010) was a modernist painter and educator active in Houston, Texas. Camblin experimented with a wide variety of media and is known for collaborative projects with many artists, including a collective known as The Holding Firm with Earl Staley and Joe Tate in Houston.

Born in Ponca City, Oklahoma, Camblin served in the United State Army (1948-1949) and Air Force (1950-1951) before receiving his bachelor of fine arts in 1954, and his master of fine arts degree in 1955. He worked as a map make from 1955-1958 before holding teaching posts at multiple institutions including the Kansas City Art Institute, the Ringling School of Art, Sarasota Florida, the University of Illinois, the University of Detroit, the University of Utah, and Rice University in Houston.

While living in Houston Camblin collaborated with artists Earl Staley and Joe Tate, as the B. E. and J. Holding Firm, or The Holding Firm. The collective worked on multiple projects including paintings, drawings, art excursions, and exhibitions.

Camblin's first one-man show was held in 1955 at the Kansas City Art Institute and his work has been exhibited in other solo exhibitions including at Oklahoma State University (1961), Plumtree Gallery, Salt Lake City, Utah (1965-1966), Windsor College, Canada (1965), David Gallery, Houston (1969-1970), and the Graham Gallery in Houston (1989). Camblin participated in many group exhibitions including ART:USA 58 (1958), Fulbright Artists Exhibition, Nelson Gallery of Art, Kansas City (1958), Childe Hassam Purchase Fund Show, American Academy of Arts and Letters (1958), and Printmaking in Texas: The 1980s Modern Art Museum, Fort Worth (1990).

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming by Mrs. Eldon Jensen on Reel 2248, including six sketchbooks, 1979-1980, containing sketches, writings, and a few letters. Loaned materials were returned to the lender and are not described in the collection container inventory.

Some of the material from reels 3461 and 3462 including correspondence, clippings, files on the Document Show, the Barter Show, B. E. and J. Holding Firm and the Venice Venture are available for use only at the Museum of Fine Arts, Houston and through interlibrary loan, and are not described in the collection container inventory.

Provenance:

This collection was donated by Sandra Curtis Levy in a series of accessions between 1979-1986.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact 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:

Painters -- Texas -- Houston  Search this

Educators -- Texas -- Houston  Search this

Genre/Form:

Sketchbooks

Drawings

Moving images

Citation:

Bob Bilyeu Camblin papers, 1951-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.cambbob

See more items in:

Camblin, Bob Bilyeu papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97a6fd7c8-6f2e-4062-853a-d77d5375f0ee

EDAN-URL:

ead_collection:sova-aaa-cambbob

Creator:

Amado, Jesse, 1951-  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sketchbooks

Drawings

Date:

circa 1970-2016

Summary:

The papers of artist Jesse Amado measure 1.3 linear feet and date from circa 1970 to 2016. The collection is comprised of biographical material, writings and notes, professional files, printed material, photographic material, and artwork.

Scope and Contents:

The papers of artist Jesse Amado measure 1.3 linear feet and date from circa 1970 to 2016. The collection is comprised of biographical material, writings and notes, professional files, printed material, photographic material, and artwork.

Awards, greeting cards, license, and a resume are found in biographical materials. The papers also include early writings, notes, and fifteen notebooks. Professional files consist of agreements, exhibition and project files, a teaching file, and source material.

Printed materials consist of clippings, ephemera, exhibition catalogs and announcements, and an exhibition wall description. Photographs and negatives are of Amado, works of art, and personal subjects. Artwork includes a few drawings, a sketchbook, and portraits of Amado drawn by his students.

Arrangement:

The collection is arranged as six series.

Series 1: Biographical Material, circa 1983-2011 (Box 1; 4 folders)

Series 2: Writings and Notes, circa 1970-2016 (Box 1; 0.3 linear feet)

Series 3: Professional Files, 1990-2016 (Boxes 1-2; 0.4 linear feet)

Series 4: Printed Material, circa 1983-2016, undated (Boxes 1-2; 0.2 linear feet)

Series 5: Photographic Material, circa 1970-circa 2000 (Box 1; 0.2 linear feet)

Series 6: Artwork, circa 2010-2015 (Boxes 1-2; 3 folders)

Biographical / Historical:

Jesse Amado (1951- ) is an artist active in San Antonio, Texas.

In his youth Amado had aspirations to become an architect but lost interest later in high school. Amado joined the Navy at 17 becoming an east coast communications operator. He left the Navy after five years and moved to New York City. There, he visited art museums and became interested in art though he did not consider a career as an artist at this time. Instead, he studied English in college and graduated in 1977 from the University of Texas in Austin. He returned to San Antonio and became an English teacher in the public school system, but left this position a short time later. Following the suggestion of a friend, Amado joined the San Antonio fire department where he worked until retiring in 2002. Upon gaining a steady income, Amado began taking art classes at San Antonio College studying under Chicano artist Mel Casas. Amado continued to study fine art at the University of Texas in San Antonio in the 1980s. He earned another bachelor's degree as well as a master's degree in fine art in 1990. During this time he began exhibiting his artwork. He has since held numerous solo and group exhibitions of his work.

Amado completed residencies at San Antonio's Artspace, South Korea's City Gallery of Kwangju, the Bemis Center for Contemporary Arts in Omaha, N.E., and for the National Endowment for the Arts' Visual Arts Organization Grant at the Fabric Workshop and Museum of Philadelphia. His major projects include memorials for the San Antonio fire department and Days, an art installation in honor of Linda Pace at the San Antonio Central Library.

Related Materials:

Also at the Archives of American Art is an interview of Jesse Amado conducted May 31 and June 7, 2004 by Cary Cordova at the artist's studio, in San Antonio, Texas.

Provenance:

The papers were donated by Jesse Amado in 2017.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Video artists -- Texas -- San Antonio  Search this

Topic:

Computer artists--Texas--San Antonio  Search this

Hispanic American artists  Search this

Genre/Form:

Photographs

Sketchbooks

Drawings

Citation:

Jesse Amado papers, circa 1970-2016. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.amadjess

See more items in:

Jesse Amado papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw902b20513-446a-400d-ba7c-a9cfc0c1f466

EDAN-URL:

ead_collection:sova-aaa-amadjess

Creator:

Hemphill, Herbert Waide  Search this

Names:

Abby Aldrich Rockefeller Folk Art Center  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Exposition Universelle de Paris (1878 : Paris, France)  Search this

Folk Art Society of America  Search this

Museum of International Folk Art (N.M.)  Search this

National Museum of American Art (U.S.)  Search this

Aiken, Gayleen  Search this

Bogun, Maceptaw, Rev.  Search this

Borkowski, Mary  Search this

Brice, Bruce  Search this

Carpenter, Miles B. (Miles Burkholder), 1889-  Search this

Coins, Raymond  Search this

Crittenden, Varick A.  Search this

Dinsmoor, Samuel Perry, 1843-1932  Search this

Donovan, Carrie  Search this

Fancher, John W.  Search this

Finster, Howard, 1916-2001  Search this

Flanagan, Thos. J. (Thomas Jefferson), b. 1890  Search this

Fowler, Tim  Search this

Gatto, Victor Joseph, 1893-1965  Search this

Ghostley, Alice, 1926-2007  Search this

Goins, Vernon  Search this

Hall, Michael D., 1941-  Search this

Hamblett, Theora, 1895-1977  Search this

Hartigan, Lynda Roscoe  Search this

Harvey, Bessie, 1929-  Search this

Hawkins, William Lawrence, 1895-1990  Search this

Hicks, Tiny  Search this

Holley, Lonnie  Search this

Hunter, Clementine  Search this

James, A. Everette (Alton Everette), 1938-  Search this

Jennings, James Harold  Search this

Jones, S. L. (Shields Landon), 1901-  Search this

Jordan, John  Search this

Josephson, Nancy, 1955-  Search this

Klumpp, Gustave, 1902-1974  Search this

Lisk, Charles  Search this

Little, Roy  Search this

Lopez, George  Search this

Maldonado, Alexander Aramburo, 1901-1989  Search this

McCarthy, Justin, 1891-1977  Search this

Merrill, James Ingram  Search this

Morgan, Gertrude  Search this

Mr. Imagination, 1948-  Search this

Nathaniel, Inez  Search this

O'Kelley, Mattie Lou  Search this

Orth, Kevin, 1961-  Search this

Patterson, Clayton  Search this

Prince, Daniel C.  Search this

Prince, Neal A.  Search this

Robertson, Royal  Search this

Rowe, Nellie Mae, 1900-1982  Search this

Smith, Fred, 1886-1975  Search this

Smith, Robert E., 1926-  Search this

Smither, John  Search this

Smither, Stephanie  Search this

Spies, Jim  Search this

St. EOM, 1908-1986  Search this

Terrillion, Veronica  Search this

Tolliver, Mose, 1920-  Search this

Tolson, Edgar, 1904-1984  Search this

Walters, Hubert  Search this

Weissman, Julia  Search this

Young, Purvis, 1943-  Search this

Zeldis, Malcah  Search this

Extent:

26.7 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Watercolors

Sketchbooks

Sound recordings

Photographs

Drawings

Poems

Reports

Prints

Interviews

Date:

1776-1998

bulk 1876-1998

Summary:

The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.

Scope and Content Note:

The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.

Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.

Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.

Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.

Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.

Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.

Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.

A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.

There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.

Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.

Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.

Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.

Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.

Arrangement:

The collection is arranged as 10 series; all series are arranged chronologically:

Missing Title

Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)

Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)

Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)

Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)

Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)

Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)

Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)

Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)

Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)

Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)

Biographical Note:

Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.

Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.

Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.

Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.

In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.

Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.

Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.

Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.

Provenance:

Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.

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.

Topic:

Art -- Collectors and collecting  Search this

Folk art -- Collectors and collecting  Search this

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

Art -- Economic aspects  Search this

Genre/Form:

Video recordings

Watercolors

Sketchbooks

Sound recordings

Photographs

Drawings

Poems

Reports

Prints

Interviews

Citation:

Herbert Waide Hemphill papers, 1776-1998, bulk 1876-1998. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hempherb

See more items in:

Herbert Waide Hemphill papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f69d462b-a5dc-45d7-bfd8-fcac50b7312b

EDAN-URL:

ead_collection:sova-aaa-hempherb

Artist:

George Rodriguez, born El Paso, TX 1982  Search this

Medium:

stoneware with glaze and underglaze

Dimensions:

dimensions variable

Type:

Decorative Arts-Ceramic

Crafts

Date:

2019

Topic:

Figure group  Search this

Object\tool\broom  Search this

Credit Line:

Smithsonian American Art Museum, Gift of Alison and Glen Milliman, Cynthia Sears, and Michael J. Stein

Copyright:

© 2019, George Rodriguez. Photograph by Spike Mafford, courtesy of Foster/White Gallery, Seattle.

Object number:

2022.23A-B

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Renwick Gallery

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7d6fc6590-9bdd-4e1a-aef6-bebd1bcb58b9

EDAN-URL:

edanmdm:saam_2022.23A-B