The Paredon Records audiorecordings consist of all 50 of the recordings released by Paredon, along with the master audiotapes. Many of the recordings have a file containing business records relating to their production. These business records include artist contracts, recording reports, various notes on records produced, photographs of artists, news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records, correspondence by Barbara Dane, Irwin Silber and Paredon Records, and other miscellany. Many contracts are signed by both Paredon Records and the artist. Correspondence is primarily between business associates. A complete inventory of the business records is available.
Scope and Contents:
There are two main components of the Paredon Records audiorecordings: the master recordings and corresponding commercial records themselves and the paper files relating to these recordings.
Series 1: Papers is primarily made up of "production files"--files containing materials related to specific albums. These production files can include artist contracts, recording reports, photographs of artists, clippings, royalty statements, licenses, album cover proofs, and correspondence between Paredon Records and the recording artists. news articles both about and by Barbara Dane, Irwin Silber, and Paredon Records. Many contracts are signed by both Paredon Records and the artist. Also included in this series are articles by Barbara Dane and Irwin Silber, a transcript of Daniel Sheehy's oral history interview with Barbara Dane, as well as miscellaneous ephemera.
Series 2: Master Audiorecordings includes all Paredon master tapes. Their corresponding commercial recordings are not described in this finding aid.
Arrangement:
Series 1: Papers (1970-2007, bulk 1970-1980)
Series 2: Master Audiorecordings (1969-1985, bulk 1970-1980)
Biographical / Historical:
Paredon Records was founded in 1969 in New York by Barbara Dane and Irwin Silber, and its first recordings were released in 1970. Paredon released four records at a time. Barbara Dane, a singer/songwriter herself, produced the albums and recruited the musicians, artists who worked on the covers, and volunteers who translated foreign language material and contributed stories for the record booklets. Irwin Silber, a writer and editor for The Guardian newspaper, assisted Dane in all aspects of production. Irwin worked on business aspects of the label, such as distribution, orders, and editing and printing the record supplemental materials. Dane and Silber traveled to almost all of the countries mentioned in these records, as part of their work as activists and personally knew the musicians and artists.
According to the interview with Barbara Dane, "Paredon" means "a big wall" in Spanish. Paredon represents "a wall of culture defending us [listeners] against this 'sleazy' culture that's out there on the other side of the wall." The mission of Paredon Records was to use music as a tool to spread culture: the stories and experiences of those involved in protest and revolution movements all over the world, in order to increase dialogue among similar movements and peoples. Dane and Silber hoped these records would promote social and political activism, and that the uplifting power of music would inspire people to be agents of social change. The records reflect the most important socialist or liberation movements in world politics as well as domestic issues in the United States of the late twentieth century.
The 50 Paredon record albums constitute a unique historical documentation of the political protest and revolutionary currents in the world over the course of three decades. 31 of the 50 albums come from national liberation movements in Asia, Africa and Latin America. These include music, song, poetry and speech from Angola, Argentina, Chile, China, Cuba, The Dominican Republic, Ecuador, El Salvador, Haiti, Mexico, Nicaragua, Palestine, Philippines, Puerto Rico, Thailand, Uruguay, and Vietnam. Another five albums come out of the European oppositional political movements from; Greece, Italy, North Ireland and the United Kingdom. In all cases, the materials are performed and/or presented by the participants in these movements. A number of world renowned artists are among the performers, including Mikis Theodorakis (Greece), Marcel Khalife (Lebanon), Quilapayún (Chile) and Silvio Rodriguez (Cuba). Several important world political figures — Fidel Castro, Ho Chi Minh, Don Albizu Campos and Che Guevara — also appear on these records delivering seminal speeches. Not all of the political figures deliver their speeches, such as the Ho Chi Minh album, but were read by someone else. The other 14 record albums document political and social protest movements in the U.S. during this same period. The songs reflect currents in the civil rights, women's, and labor movements. Two albums document GI opposition to the Vietnam War. These recordings include a broad array of singers and songs associated with the political protest of the times. Albums by the band "The Men of No Property" and others were obtained clandestinely, as the movements often became dangerous. Smithsonian Folkways Director Daniel Sheehy interviewed Barbara Dane in 2007, the transcript of which is contained in the Supporting Materials folder in Series 1: Papers.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Provenance:
The Ralph Rinzler Folklife Archives and Collections acquired the Paredon Records audiorecordings in December, 1991, when Barbara Dane and Irwin Silber donated their record company papers to the Center for Folklife and Cultural Heritage. The Center for Folklife and Cultural Heritage agreed to keep the record titles available for purchase, and to accession and store the Paredon Records Collection in the archives.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
This microfilm collection consists of the Alexander family papers relating to African American painter Henry Ossawa Tanner. The collection includes correspondence between Tanner and Raymond Alexander (1924-1937) and court documents concerning Tanner's legal action against the Bethel A.M.E Church. Included in the Sadie Aleander materials are personal letters from Tanner; correspondence from museums discussing exhibition loans and the discovery of Tanner paintings; printed material, including catalogs and clippings; and materials related to the Tanner commemorative stamp.
Biographical / Historical:
Raymond Pace Alexander (1897-1974) and Sadie Tanner Mossell Alexander (1898-1989) were prominent African American lawyers in Philadelphia, Pennsylvania. Sadie Alexander was Henry Ossawa Tanner's niece. Raymond Alexander represented Tanner in his legal suit against the Mother Bethel A.M.E. Church in Philadelphia regarding nonpayment for a bust of Richard Allen.
Related Materials:
The Archives of American Art also holds the Henry Ossawa Tanner papers, 1860s-1978; the Henry O. Tanner letters to the Pennsylvania Academy of the Fine Arts, 1885-1909; and the Marcia M. Mathews papers relating to Henry Ossawa Tanner, 1937-1969. The Atlanta University Center, Robert W. Woodruff Library holds the Henry Ossawa Tanner collection, 1907-1937.
Provenance:
Microfilmed in 1990 as part of AAA's Philadelphia Arts Documentation Project. Only those parts of the Alexander family papers relating to Henry Ossawa Tanner were filmed; the entire collection is available at the University of Pennsylvania Archives and Records Center (Alexander Family Papers, 1817-2005).
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Lawyers -- Pennsylvania -- Philadelphia Search this
Topic:
Expatriate painters -- France -- Paris Search this
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Paredon Records audiorecordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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 and born-digital records in this collection must use access copies. Contact References Services for more information.
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:
Bruria Finkel papers, 1953-2021. Archives of American Art, Smithsonian Institution.
File consists of recording artist contracts, song sales statements, and royalty contracts.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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 access copy requires advance notice.
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:
Organization of Independent Artists records, circa 1970s-circa 2003. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.9 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Scope and Contents:
The records of Dorothy Goldeen Gallery, based in Southern California, measure 18.9 linear feet and 2.52 GB and date from 1960 to circa 2014, with the bulk of the items dating from 1987 to 1996. The Dorothy Goldeen Gallery, operated from 1986-1996 and featured the work of prominent contemporary artists, such as Magdalena Abakanowicz, John Altoon, Fletcher Benton, Howard Ben Tre, Ciel Bergman, Squeak Carnwatch, Dale Chihuly, Duck-Hyun Cho, Roy De Forest, Heidi Fasnacht, Robert Hudson, Terence La Noue, Donald Lipski, Nam June Paik, Ed Paschke, Alan Rath, Zizi Raymond, Pablo Reinoso, among many others. The collection includes correspondence, scattered administration records, exhibition files, extensive artists' files that also include many video recordings, financial and legal records, printed and digital materials, and photographic materials.
Correspondence is with artists, museums, galleries, and collectors regarding exhibitions, sales, and acquisitions of artwork. Administration records include appraisals, mailing lists, materials related to gallery events, a rolodex, and a list of artist contracts. Exhibition files are found for only a few of the gallery's exhibitions, including American Artists in Jewelry (1987), Private Reserve (1988), Fresh Visions 1 (1989), Fresh Visions 2 (1989), and Multiple Parts (1994).
There are extensive artists' files containing correspondence, printed and digital material, resumes, slides, and photographs documenting the gallery's relationship with and exhibitions of many prominent artists. These files also contain numerous audio and video recordings of interviews with artists, exhibitions, documentaries, and video art.
Financial and legal records mostly consist of sales records of artwork by various artists, in addition to materials on a lawsuit, a sublease for exhibition space, and a few invoices.
Printed materials include Dorothy Goldeen Gallery press releases, exhibition announcements, press reviews, newsletters, clippings, and one videocassette of a broadcast news program.
Photographic materials mostly consist of slides and transparencies of artwork by artists represented by the gallery. There are a few images of the gallery building.
Dorothy Goldeen papers include travel notebooks, itineraries, receipts, and other ephemera from domestic and international trips taken by Goldeen; lecture notes; personal correspondence with artists, associates, and others; and files for several exhibitions from after the Goldeen Gallery closed. Also present are blog posts and a contact list from the art advisory business Goldeen started after closing her gallery.
Arrangement:
This collection is arranged as 8 series.
Series 1: Correspondence, 1979-2012 (1.3 linear feet; Box 1-2, 19)
Series 2: Administration Records, circa 1987-circa 2010 (1.2 linear feet; Box 2, 19)
Series 3: Exhibition Files, 1987-1995 (0.4 linear feet; Boxes 2-3)
Series 4: Artists' Files, 1961-2007 (12.3 linear feet; Boxes 3-14, 19-20, OV 17-18, 2.52 GB; ER01-ER02)
Series 5: Financial and Legal Records, 1987-2005 (0.8 linear feet; Box 15)
Series 6: Printed Material, 1986-2014 (0.5 linear feet; Boxes 15-16, 20, 22)
Series 7: Photographic Material, 1960-2005 (0.8 linear feet; Box 16, 20)
Series 8: Dorothy Goldeen Papers, 1976-2013 (1 linear feet; Box 20-21)
Biographical / Historical:
The Dorothy Goldeen Gallery (1987-1996) was an art gallery in Santa Monica, California, founded by Dorothy Goldeen.
Dorothy Goldeen graduated from the University of California, Berkeley, where she studied sculpture and textile design. In 1973, Goldeen began her career in the arts working in San Francisco, California at the Hansen Fuller Gallery which later became Fuller Goldeen Gallery.
In 1987, Goldeen moved to Los Angeles and founded the Dorothy Goldeen Gallery. Historically significant artists such as Magdalena Abakanowicz and Nam June Paik were represented by her gallery as well as influential, emerging Los Angeles artists. Other notable artists include Robert Arneson, Paul Kos, Ed Paschke, and Alan Rath.
In 1996, Goldeen closed her gallery and launched the Dorothy Goldeen Art Advisory in Santa Monica. Goldeen often travels internationally as an art consultant for private and institutional clients, advising them on the acquisition and resale of art.
Related Materials:
The Archives of American Art also has an oral history interview with Dorothy Goldeen conducted by Hunter Drohojowska-Philp in 2014.
Provenance:
The Dorothy Goldeen Gallery records were donated by Dorothy Goldeen to the Archives of American Art in 2003, 2014, and 2021.
Restrictions:
Boxes 19-22 are access restricted; written permission is required. Contact Reference Services for more information. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
All correspondence: Permission to publish, quote or reproduce requires written permission from Dorothy Goldeen. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- California
Genre/Form:
Interviews
Sound recordings
Video recordings
Citation:
Dorothy Goldeen Gallery Records, 1960-circa 2014, bulk 1987-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
A portion of 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.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Tippetts-Abbett-McCarthy-Stratton and Robert Smithson. Contract between Tippetts-Abbett-McCarthy-Stratton, engineers, and Robert Smithson, 1966 July 20. Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Woman's Building (Los Angeles, Calif.) Search this
Container:
Box 15, Folder 32
Type:
Archival materials
Date:
1979
Collection Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation. Funding for the digitization of this collection was provided by The Walton Family Foundation and Joyce F. Menschel, Vital Projects Fund, Inc.
Use of original papers requires an appointment. Use of archival audiovisual recordings and electronic records with no duplicate access copy requires advance notice.
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:
Thread Waxing Space records, 1980s-2001, bulk 1991-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care and Preservation Fund
Use of original papers requires an appointment. Use of archival audiovisual recordings and electronic records with no duplicate access copy requires advance notice.
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:
Thread Waxing Space records, 1980s-2001, bulk 1991-2001. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution's Collections Care and Preservation Fund
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:
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.
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.
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:
Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein Foundation, and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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.
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:
Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein Foundation, and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
