Search Results

Artist:

John Smibert, 1688 - 1751  Search this

Sitter:

Bp. George Berkeley, 12 Mar 1685 - 14 Jan 1753  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 102.2 x 75.6 x 3.8cm (40 1/4 x 29 3/4 x 1 1/2")

Frame: 123.2 x 96.8 x 6.4cm (48 1/2 x 38 1/8 x 2 1/2")

Type:

Painting

Date:

1727?

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Headgear\Hat  Search this

Printed Material\Book  Search this

Interior\Interior with Exterior View  Search this

Bp. George Berkeley: Male  Search this

Bp. George Berkeley: Humanities and Social Sciences\Philosopher  Search this

Bp. George Berkeley: Religion and Spirituality\Clergy\Bishop  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of the Morris and Gwendolyn Cafritz Foundation; frame conserved with funds from the Smithsonian Women's Committee

Object number:

NPG.89.25

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4e6d56f8f-23cd-415a-99f4-0c1c0ad8b988

EDAN-URL:

edanmdm:npg_NPG.89.25

Physical Description:

wood (overall material)

cloth (overall material)

metal (overall material)

Measurements:

overall: 11 in x 9 in; 27.94 cm x 22.86 cm

Object Name:

Puppet

Place made:

United States: District of Columbia

Date made:

1935

Subject:

Puppetry  Search this

Education  Search this

Theater, Puppetry  Search this

Credit Line:

William N. Buckner

ID Number:

1980.0197.01

Accession number:

1980.0197

Catalog number:

1980.0197.01

See more items in:

Cultural and Community Life: Entertainment

Puppets

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a4-ef27-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_662361

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-07-13T12:00:29.000Z

YouTube Category:

Education  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_ZedfsdiS8PY

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2011-02-02T13:36:23.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_6fzjnolxAAY

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2020-06-01T00:00:11.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_ECzoCaIjaKM

Interviewee:

Moctezuma, Alessandra  Search this

Interviewer:

Espinosa, Fernanda  Search this

Names:

Pandemic Oral History Project  Search this

Extent:

1 Item (video files (29 min.) Video, digital, mp4)

8 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Video recordings

Date:

2020 July 22

Scope and Contents:

An interview with Alessandra Moctezuma conducted 2020 July 22, by Fernanda Espinosa, for the Archives of American Art's Pandemic Oral History Project at at Moctezuma's home in San Diego, California.

Biographical / Historical:

Alessandra Moctezuma is an artist, curator, and arts teacher active in San Diego, California. Moctezuma is a professor and gallery Director at San Diego Mesa College, San Diego, California.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This interview is open for research.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the audio is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the audio recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Educators -- California -- San Diego  Search this

Gallery directors -- California -- San Diego  Search this

Artists -- California -- San Diego  Search this

Topic:

Women artists  Search this

Mexican American artists  Search this

Latino and Latin American artists  Search this

Pandemics  Search this

COVID-19 (Disease)  Search this

Genre/Form:

Interviews

Video recordings

Sponsor:

This interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.moctuz20

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-moctuz20

Creator:

Sifuentes, Roberto, 1967-  Search this

Extent:

4.3 Linear feet

0.054 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Photographs

Sound recordings

Video recordings

Date:

circa 1988-2006

bulk 1993-2000

Summary:

The papers of performance artist and educator Roberto Sifuentes measure 4.3 linear feet and date from circa 1988 to 2006. The collection documents Sifuentes' work as a professional artist and educator through biographical material and interviews; correspondence including emails; project files including project descriptions, documentation of individual productions, audio and video recordings, and components of works for multimedia projects; conference files documenting symposia and conference participation; articles, versions of performance scripts, and other writings; printed material including press clippings, promotional press packets, and source material; as well as photographic material documenting performances and social events.

Scope and Contents:

The papers of performance artist and educator Roberto Sifuentes measure 4.3 linear feet and date from circa 1988 to 2006. The collection documents Sifuentes' work as a professional artist and educator through biographical material and interviews; correspondence including emails; project files including project descriptions, documentation of individual productions, audio and video recordings, and components of works for multimedia projects; conference files documenting symposia and conference participation; articles, versions of performance scripts, and other writings; printed material including press clippings, promotional press packets, and source material; as well as photographic material documenting performances and social events.

Arrangement:

The collection is arranged in 7 series:

Series 1: Biographical Material, circa 1990-2000 (0.2 linear feet; Box 1, 0.003 Gigabytes; ER01)

Series 2: Correspondence, circa 1990-2000 (0.2 linear feet; Box 1, 0.004 Gigabytes; ER02-ER05)

Series 3: Project Files, circa 1986-2000 (1.9 linear feet; Boxes 1-3, 0.051 Gigabytes; ER06-ER15, ER18-ER19)

Series 4: Conference Files, circa 1995-2006 (0.2 linear feet; Box 3)

Series 5: Writings, circa 1993-2000 (0.8 linear feet; Boxes 3-4, 0.002 Gigabytes, ER16-ER17)

Series 6: Printed Material, circa 1993-2000 (0.9 linear feet; Boxes 4-5)

Series 7: Photographic Material, circa 1990s (0.1 linear feet; Box 4)

Biographical / Historical:

Roberto Sifuentes, (born Los Angeles, 1967) is a Chicano performance artist and arts instructor at the School of the Art Institute of Chicago. He completed his BA from Trinity College in Hartford, Connecticut in 1989 and in 1993 founded La Pocha Nostra Performance Group with his career-long collaborator, Guillermo Gómez-Peña. La Pocha Nostra in its manifesto describes itself as a "trans-disciplinary arts organization...created out of our necessity to survive as Chicano artists in a racist Art World." Around 1992 Roberto began contributing as a collaborator and performer for performance works created by Gómez-Peña in collaboration with Coco Fusco, Couple in the Cage and New World (B)order. Sifuentes has continued his partnership with Gómez-Peña in creating new performance works and publications, as well touring widely to perform their works and deliver outreach programs including lectures and workshops.

Consistent with his work with La Pocha Nostra, Sifuentes has taken an activist sensibility and approach in incorporating stereotypical ritualistic and religious cultural imagery in his installations and performances, while engaging with emerging technologies. This juxtaposition between the futuristic and the traditional stereotype was reflected in his widely applied artistic persona Cybervato. Key works incorporating this persona include Borderscape 2000, Temple of Confessions, and Mexterminator. He has performed his works and contributed to symposia and conferences throughout the world at venues including National Review of Live Art, Glasgow; Center for Performance Research, Wales; Hemispheric Institute, New York University; Centro Cultural Recoleta, Buenos Aires; Corcoran Gallery of Art, Washington DC; De Young Museum, San Francisco; and El Museo del Barrio in New York City.

Provenance:

The Roberto Sifuentes papers were donated by Roberto Sifuentes to the Archives of American Art in 2018.

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 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.

Occupation:

Art teachers -- Illinois -- Chicago  Search this

Performance artists--Illinois--Chicago  Search this

Topic:

Hispanic American artists  Search this

Mexican American artists  Search this

Genre/Form:

Interviews

Photographs

Sound recordings

Video recordings

Citation:

Roberto Sifuentes papers, circa 1988-2006, bulk 1993-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sifurobe

See more items in:

Roberto Sifuentes papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-sifurobe

Creator:

Chagoya, Enrique  Search this

Names:

California State University, Hayward -- Faculty  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1990-1995

Summary:

The papers of Mexican-American painter, printmaker, and educator Enrique Chagoya measure 0.8 linear feet and date from 1990 to 1995. The collection includes four dossiers compiled by Chagoya for evaluations of his professorship at California State University in Hayward, California. The dossiers contain resumes, student evaluations, correspondence, exhibition announcements and catalogs, clippings, transparencies of artwork, class syllabi, lists of accomplishments as an educator, and lists of exhibitions.

Scope and Contents:

The papers of Mexican-American painter, printmaker, and educator Enrique Chagoya measure 0.8 linear feet and date from 1990 to 1995. The collection includes four dossiers compiled by Chagoya for evaluations of his professorship at California State University in Hayward, California. The dossiers contain resumes, student evaluations, correspondence, exhibition announcements and catalogs, clippings, transparencies of artwork, class syllabi, lists of accomplishments as an educator, and lists of exhibitions.

Arrangement:

The collection is arranged as one series.

Series 1: Enrique Chagoya papers, 1990-1995 (Boxes 1-2; 0.8 linear feet)

Biographical / Historical:

Enrique Chagoya (1953- ) is a painter, printmaker, and educator in San Francisco, California.

Chagoya was born in Mexico City. His father, also an artist, encouraged Chagoya's interest in art from a young age. Chagoya studied political economics at the Universidad Nacional Autónoma de México. It was during this time that he worked in rural areas on development projects. The projects helped shape the political and social perspective that often appears in Chagoya's artwork. After emigrating to the U.S. in 1977, he began working as an illustrator and graphic designer. Chagoya attended the San Francisco Art Institute where he received his bachelor's degree in 1984 and received a master's degree from the University of California at Berkeley in 1987. He also taught at the University of California at Berkeley, as well as California State University at Hayward, and Stanford University.

Related Materials:

Also found at the Archives of American Art is an oral history interview with Enrique Chagoya conducted by Paul Karlstrom in San Francisco, California from July 25 to August 6, 2001 for the Archives of American Art.

Provenance:

The papers were donated by Enrique Chagoya in 2016.

Restrictions:

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

Rights:

The donor has retained all intellectual property rights, including copyright, that he may own.

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

Occupation:

Painters -- California -- San Francisco  Search this

Printmakers -- California -- San Francisco  Search this

Art teachers -- California -- San Francisco  Search this

Topic:

Latino and Latin American artists  Search this

Mexican American artists  Search this

Citation:

Enrique Chagoya papers, 1990-1995. 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.chagenri

See more items in:

Enrique Chagoya papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-chagenri

Creator:

Casas, Mel, 1929-2014  Search this

Names:

Con Safo (Group)  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Date:

1963-1998

Summary:

The papers of San Antonio painter and educator Mel Casas measure 1 linear foot and date from 1963 to 1998. The collection is comprised of biographical material including files on the art collective Con Safo, correspondence regarding business and exhibitions, writings by Casas on Chicano art, printed materials documenting Casas's career and Con Safo events, and photographic materials, including photos and slides of Casas and others, his artwork, and an exhibition.

Scope and Contents:

The papers of San Antonio painter and educator Mel Casas measure 1 linear foot and date from 1963 to 1998. The collection is comprised of biographical material including files on the art collective Con Safo, correspondence regarding business and exhibitions, writings by Casas on Chicano art, printed materials documenting Casas's career and Con Safo events, and photographic materials, including photos and slides of Casas and others, his artwork, and an exhibition.

Of particular note are the files on Con Safo, including meeting minutes for two 1975 meetings, and copies of La Movida Con Safo numbers 1 and 2, which include records of the founding of the group and copies of defining documents of the Chicano art movement. Casas's writings, which express his ideas on Chicano art in diagrammatic form, are also of particular note.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, 1975-1996 (Box 1; 4 folders)

Series 2: Correspondence, 1975-1993 (Box 1; 4 folders)

Series 3: Writings, 1973-1993 (Box 1; 0.9 folders)

Series 4: Printed Materials, 1963-1998 (Box 1-2, OVs 3-4; 0.7 linear feet)

Series 5: Photographic Materials, circa 1977 (Box 2; 2 folders)

Biographical / Historical:

Mel Casas (1929-2014) was a painter and educator in San Antonio, Texas.

Casas was born in El Paso in the historic El Segundo Barrio. After graduating from El Paso High School, he worked odd jobs before serving in the United States Army during the Korean War. Casas was wounded by a landmine in Korea and ultimately awarded the Purple Heart. After returning home he attended the University of Texas at El Paso and graduated in 1956. He subsequently earned a Master of Fine Art in 1958 from the University of the Americas in Mexico City.

Casas began his teaching career at Jefferson High School in El Paso where one of his students was artist Gaspar Enriquez. He went on to teach at San Antonio College and was chair of the art department there until his retirement in 1990.

Casas was a founder of the Chicano art movement and a key member of the art collective Con Safo with other founding members Felipe Reyes, Jose Esquivel, Rudy Treviño, and Roberto Ríos. Originally named El Grupo, the group's mission was to empower Chicano artists who were largely overlooked in the mainstream art world. In 1968 Casas penned the "Brown Paper Report," a manifesto explaining the meaning of Con Safo, Chicano, the "Brown Vision of America," and the group's use of the symbol "C/S." The report helped to define Con Safo as an organization and remains a fundamental document in the history of the Chicano art movement.

Casas is well-known for his series Humanscapes that includes 150 large-scale paintings produced between 1965 and 1989. This series, along with smaller works, has been exhibited throughout the United States and Mexico. Casas's work can be found in the permanent collections of the Smithsonian American Art Museum, the San Antonio Museum of Art, and other collections worldwide.

Casas died in San Antonio, Texas, in 2014.

Related Materials:

Also at the Archives of American Art is an interview of Mel Casas conducted August 14-16, 1996 by Paul Karlstrom for the Archives of American Art.

Provenance:

The Mel Casas papers were donated by Mel Casas in 1981 and microfilmed as part of the Archives of American Art's Texas project. Additional papers were donated by Casas in 1999.

Restrictions:

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

Rights:

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

Occupation:

Art teachers -- Texas -- San Antonio  Search this

Painters--Texas--San Antonio  Search this

Topic:

Latino and Latin American artists  Search this

Mexican American art  Search this

Mexican American artists  Search this

Chicano art movement  Search this

Citation:

Mel Casas papers, 1963-1998. 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.

Identifier:

AAA.casamel

See more items in:

Mel Casas papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-casamel

Creator:

Brook, Alexander, 1898-1980  Search this

Subject:

Bacon, Peggy  Search this

Biddle, George  Search this

Brett, Catherine  Search this

Covarrubias, Miguel  Search this

Pollock, Jackson  Search this

Spencer, Niles  Search this

Knee, Gina  Search this

Bouché, Louis  Search this

Type:

Photographs

Watercolors

Sketches

Transcriptions

Scrapbooks

Sketchbooks

Interviews

Etchings

Illustrations

Topic:

Post-impressionism (Art)  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

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

Record number:

(DSI-AAA_CollID)6833

(DSI-AAA_SIRISBib)208960

AAA_collcode_brooalex

Theme:

Diaries

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208960

Creator:

Martinez, Emanuel, 1947-  Search this

Type:

Photographs

Scrapbooks

Topic:

Muralists -- Colorado -- Denver  Search this

Mural painting and decoration -- 20th century -- Colorado  Search this

Chicano movement  Search this

Record number:

(DSI-AAA_CollID)17484

(DSI-AAA_SIRISBib)388915

AAA_collcode_marteman

Theme:

Latino and Latin American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_388915

Creator:

Enriquez, Gaspar, 1942-  Search this

Subject:

Antone, Bernadin  Search this

Jimenez, Luis  Search this

Juárez, Miguel  Search this

Marin, Cheech  Search this

Silva, Elda  Search this

Type:

Photographs

Sketches

Topic:

Latino and Latin American artists  Search this

Mexican American art  Search this

Record number:

(DSI-AAA_CollID)17462

(DSI-AAA_SIRISBib)387806

AAA_collcode_enrigasp

Theme:

Latino and Latin American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_387806

Creator:

Enriquez, Gaspar, 1942-  Search this

Names:

Antone, Bernadin  Search this

Jimenez, Luis, 1940-2006  Search this

Juárez, Miguel, 1958-  Search this

Marin, Cheech  Search this

Silva, Elda  Search this

Extent:

1.5 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sketches

Date:

1973-2017

Summary:

The papers of Chicano painter, portrait artist, and educator Gaspar Enriquez measure 1.5 linear feet and 0.001 GB and date from 1973 to 2017. The papers are comprised of biographical materials, correspondence, writings, commission and project files, exhibition files, and printed and digital materials that document Enriquez's career in El Paso, Texas.

Scope and Contents:

The papers of Chicano painter, portrait artist, and educator Gaspar Enriquez measure 1.5 linear feet and 0.001 GB and date from 1973 to 2017. The papers are comprised of biographical materials, correspondence, writings, commission and project files, exhibition files, and printed and digital materials that document Enriquez's career in El Paso, Texas.

Biographical materials include several awards and certificates, photographs, and sketches. Correspondence includes general personal and professional correspondence, notes to Enriquez, and letters with Bernadine Antone, Miguel Juarez, Elda Silva. Writings consist of artist statements, one notebook, a student paper about Luis Jimenez, and statements on teaching. Commission and project files contain digital photographs and other records for mural, book, and room design projects.

Files for exhibitions include documentation on Chicano Art: Resistance and Affirmation (1990-1993), or CARA, a traveling exhibition and Chicano Visions: American Painters on the Verge (2004), an exhibition of Chicano artwork collected by Cheech Marin. Printed materials contains art reproductions, clippings, exhibition announcements and catalogs, flyers, invitations, magazines, newsletters, and press releases.

Arrangement:

The collection is arranged as six series.

Series 1: Biographical Materials, 1976-2014 (Box 1; 3 folders)

Series 2: Correspondence, circa 1985-2017 (Box 1; 0.3 linear feet)

Series 3: Writings, 1983-circa 2000 (Box 1; 4 folders)

Series 4: Commission and Project Files, 1994-2003 (Box 1; 0.2 linear feet, ER01; 0.001 GB)

Series 5: Exhibition Files, 1990-2007 (Box 1, OV 3; 0.2 linear feet)

Series 6: Printed Materials, 1973-2017 (Boxes 1-2, OV 3; 0.6 linear feet)

Biographical / Historical:

Gaspar Enriquez (1942- ) is a Chicano painter, portrait artist, and educator in San Elizario in El Paso County, Texas.

Enriquez was born in the historic El Segundo Barrio in El Paso. He received a bachelor's degree from the University of El Paso in 1970 and a master's degree in metals from New Mexico State University in 1985. In addition to his art career, he taught art at Bowie High School in El Paso for 34 years.

Enriquez is known for his portraits of individuals who reflect the Chicano community in which he was raised. Enriquez has stated that "one is born Mexican American, but one chooses to be a chicano." His work allows those unfamiliar with the Chicano community to connect through his portraiture.

Enriquez participated in two seminal, multifaceted exhibitions of Chicano art. Chicano Art: Resistance and Affirmation/CARA (1990-1993) and Chicano Visions: American Painters on the Verge (2001-2007), an exhibition showcasing the art collection of Cheech Marin, traveled to museums across the United States exposing Chicano art and the Chicano Movement to the traditional art world.

Enriquez has won the 2016 Segundo Barrio Person of the Year Award, the University of Texas at El Paso's Distinguished Alumni Award, and the Mid-Americarts Alliance Fellowship in 1994.

Provenance:

The papers were donated by Gaspar Enriquez in 2017.

Restrictions:

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

Occupation:

Art teachers -- Texas  Search this

Painters -- Texas  Search this

Portrait painters--Texas  Search this

Topic:

Latino and Latin American artists  Search this

Mexican American art  Search this

Genre/Form:

Photographs

Sketches

Citation:

Gaspar Enriquez papers, 1973-2017. 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.enrigasp

See more items in:

Gaspar Enriquez papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-enrigasp

Subject:

Stout, George L. (George Leslie)  Search this

Fogg Art Museum  Search this

Type:

Photographs

Date:

1928 or 1929

Topic:

Art students  Search this

Art teachers  Search this

Art--Study and teaching  Search this

Record number:

(DSI-AAA)14416

See more items in:

George Leslie Stout papers, 1855, 1897-1978

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_14416

Interviewee:

Garcia, Rupert, 1941-  Search this

Interviewer:

Karlstrom, Paul J  Search this

Subject:

Lippard, Lucy R.  Search this

Almaraz, Carlos  Search this

Montoya, Malaquias  Search this

Four (Art group)  Search this

San Francisco State University  Search this

Galería de la Raza (San Francisco, Calif.)  Search this

Asco (Group of artists)  Search this

Type:

Sound recordings

Interviews

Topic:

Mexican American artists  Search this

Painters -- California -- San Francisco -- Interviews  Search this

Hispanic American artists  Search this

Record number:

(DSI-AAA_CollID)13572

(DSI-AAA_SIRISBib)215906

AAA_collcode_garcia95

Theme:

Latino and Latin American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215906

Interviewee:

Casas, Mel, 1929-2014  Search this

Interviewer:

Karlstrom, Paul J  Search this

Subject:

Almaraz, Carlos  Search this

Garza, Carmen Lomas  Search this

San Antonio College  Search this

Type:

Sound recordings

Interviews

Topic:

Painters -- Texas -- San Antonio -- Interviews  Search this

Mexican American artists  Search this

Mexican American art  Search this

Hispanic American artists  Search this

Record number:

(DSI-AAA_CollID)5449

(DSI-AAA_SIRISBib)216023

AAA_collcode_casas96

Theme:

Latino and Latin American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216023

Interviewer:

Sánchez, Juan, 1954-  Search this

Franco, Josh T., 1985-  Search this

Extent:

9 Items (sound files (7 hr., 59 min.) Audio, digital, wav)

90 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

2018 October 1-2

Scope and Contents:

An interview with Juan Sánchez conducted 2018 October 1-2, by Josh T. Franco, for the Archives of American Art, at Sánchez studio, in Brooklyn, New York.

Sanchez speaks of his childhood in Puerto Rican enclaves of Brooklyn; formative experiences with Nuyorican poets; early memories of Puerto Rico; his earliest interest in drawing from comic books; early art-making and art education experiences, including the Pratt Saturday program; encountering Taller Boricua during the time he studied at Cooper Union; drawing formative inspiration from En Foco's photography; flourishing after initial difficulties at Cooper Union; his graduate studies at Mason Gross School of the Arts at Rutgers University; his early exhibition experiences; his negative experience of participating in Group Material's exhibition Americana; reflections on political art; his friendship with Ana Mendieta; his collaborations with MoCHA , INTAR gallery, and Exit Art; the development of his painting, photography, and collage aesthetics through graduate school; the personal and emotional dimension of his art-making process; his use of circles and photographs of heroic historical figures in his paintings; the development and execution of his public art commissions; the development of his teaching career; his experiences working at the Queens Museum education department and Cooper Union admissions department; specific controversies over the content of his work being shown at Princeton University and SUNY Stony Brook; the development and execution of his printmaking practice; and his reflections on the experience and importance of participating in an oral history interview. Sanchez also recalls Amiri Baraka, Sandra María Esteves, Louis Reyes Rivera, Pedro Pietri, Gilbert Hernandez, Jorge Soto, Hans Haacke, Reuben Kadish, Eugene Tulchin, Charles Biasiny, Leon Golub, Larry Fink, Robert Blackburn, Mel Edwards, Doug Ashford, Jimmie Durham, Nancy Spero, Lucy Lippard, Geno Rodriguez, Papo Colo, Jayne Cortez, Carl Andre, Ana Mendieta, Raquelín Mendieta, Noah Jemison, Inverna Lockpez, Nilda Peraza, James Luna, Julia Hirschberg, Susana Leval, Miguel Algarín, Jeanetter Ingberman, Jolie Guy, Susan Bloodworth, Zachary Fabri, Gilbert Cardenas, Jeanne Moutoussamy-Ashe, Michael Brathwaite, Alfredo Jaar, Tomie Arai, Lorenzo Clayton, Joan Hall, Pepe Coronado, Maryanne Simmons, and Melquiades Rosario Sastre.

Biographical / Historical:

Juan Sánchez (1954- ) is a printmaker, muralist, painter, and teacher in Brooklyn, New York. Josh T. Franco (1985- ) is the National Collector, Archives of American Art, Smithsonian Institution, Washington, D.C.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

The transcript and recording are open for research. Contact Reference Services for more information.

Occupation:

Art teachers -- New York (State) -- New York -- Interviews  Search this

Topic:

Hispanic American artists  Search this

Mixed media (Art)  Search this

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

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

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Lichtenberg Family Foundation.

Identifier:

AAA.sanche18

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-sanche18

Creator:

Inverarity, Robert Bruce, 1909-1999  Search this

Names:

Federal Art Project (Calif.)  Search this

Federal Art Project (Ill.)  Search this

Federal Art Project (Iowa)  Search this

Federal Art Project (N.Y.)  Search this

Federal Art Project (Or.)  Search this

Federal Art Project (Utah)  Search this

Federal Art Project (Wash.)  Search this

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

Deutsch, Hilda, 1911-  Search this

Duchamp, Marcel, 1887-1968 -- Photographs  Search this

Graves, Morris, 1910- -- Photographs  Search this

Morris, Carl, 1911-1993  Search this

Ray, Man, 1890-1976 -- Photographs  Search this

Tobey, Mark  Search this

Extent:

13.8 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sound recordings

Sketchbooks

Interviews

Photographs

Drawings

Place:

United States -- Economic conditions, 1918-1945 -- Washington (State)

Date:

circa 1840s-1997

Summary:

The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Scope and Content Note:

The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.

Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.

Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.

Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.

Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.

Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.

Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.

Arrangement:

The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.

Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)

Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)

Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)

Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)

Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)

Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)

Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)

Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)

Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)

Biographical Note:

Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.

He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.

Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).

During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).

After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).

Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.

Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.

After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.

Robert Bruce Inverarity died in 1999.

Separated Material:

Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.

Provenance:

Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.

Restrictions:

The collection is open for research. Use requires an appointment.

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:

Arts administrators  Search this

Painters  Search this

Topic:

Puppet theater  Search this

New Deal, 1933-1939 -- Washington (State)  Search this

Works of art  Search this

Federal aid to the arts -- Washington (State)  Search this

Art and state -- Washington (State)  Search this

Genre/Form:

Scrapbooks

Sound recordings

Sketchbooks

Interviews

Photographs

Drawings

Citation:

Robert Bruce Inverarity papers, circa 1840s-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.inverobe

See more items in:

Robert Bruce Inverarity papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-inverobe

Interviewee:

Villa, Carlos, 1936-2013  Search this

Interviewer:

Roth, Moira, 1933-  Search this

Type:

Sound recordings

Interviews

Topic:

Asian American art  Search this

Asian American artists  Search this

Filipino American art  Search this

Filipino American artists  Search this

Asian American painters  Search this

Asian American curators  Search this

Asian American educators  Search this

Record number:

(DSI-AAA_CollID)17608

(DSI-AAA_SIRISBib)393140

AAA_collcode_villa89

Theme:

Asian American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_393140

Creator:

Williams, Hiram, 1917-2003  Search this

Subject:

Uelsmann, Jerry  Search this

Topic:

Painting, Modern -- 20th century -- History -- Florida -- Gainesville  Search this

Art -- Study and teaching -- Florida -- Gainesville  Search this

Record number:

(DSI-AAA_CollID)8626

(DSI-AAA_SIRISBib)210806

AAA_collcode_willhira

Theme:

Diaries

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210806