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Creator:

Smithsonian American Art Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2012-12-03T20:39:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_1BtEJqvhosw

Creator:

Smithsonian American Art Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2012-12-03T20:37:14.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_EhvmYFR0hY0

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2022-04-08T20:48:51.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_XIZT5S-u9Rg

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2019-12-19T16:10:39.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_1hN3YbQMBao

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2017-09-05T19:04:26.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_zUFLeHPoRXg

Creator:

Parrott, Alice Kagawa, 1929-2009  Search this

Citation:

Alice Kagawa Parrott papers, circa 1950-2010. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Asian American artists  Search this

Asian American art  Search this

Japanese American art  Search this

Asian American fiber artists  Search this

Asian American ceramicists  Search this

Theme:

Asian American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)21722

(DSI-AAA_SIRISBib)398595

AAA_collcode_parralic

Theme:

Asian American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_398595

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Correspondence

Digital images

Business records

Contracts

Notes

Sound recordings

Plans (drawings)

Negatives

Audiotapes

Memorandums

Slides (photographs)

Audiocassettes

Photographic prints

Video recordings

Videotapes

Date:

June 25-July 5, 1992

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1992 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Changing Soundscape in Indian Country

Series 3: Creativity and Resistance: Maroon Culture in the Americas

Series 4: New Mexico

Series 5: Workers at the White House

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1992 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The Columbus Quincentenary that was commemorated in 1992 gave pause to reflect on the forces that over the preceding 500 years had shaped social life in the Americas. The Festival programs on New Mexico, Maroons, and American Indian musics illustrated important historical and ongoing processes through which communities establish cultural identities in complex and dynamic social circumstances.

"The Changing Soundscape in Indian Country," produced jointly with the National Museum of the American Indian, explored ways that Indian musicians and their communities creatively adapted elements from the musical traditions brought to this continent from Europe, Africa, and elsewhere. Although many of the forms of this Indian music are non-Indian in origin, the themes and performance styles clearly address Indian experience and aesthetic expectations. In their creative hands, as Festival visitors could experience first-hand, external musical influences became part of the self-definition of Indian identity and trenchant commentary on what had been happening in "Indian Country" over the past five centuries.

Nowhere is the connection between creativity and self-definition more clear than in the cultural identities of contemporary Maroon peoples, whose ancestors escaped plantation slavery in the Americas and founded independent societies. Faced with the task of constructing and defending their positions, Maroons creatively defined themselves from a variety of sources. While their political institutions, expressive arts, religions, and other social forms were predominantly African in origin, they drew from a broad range of African cultures, and from European and Native American cultures as well. Much of the aesthetic component of Maroon cultures - their vibrant traditions of verbal and visual arts, shared with Festival visitors on the National Mall - encourages the cohesiveness of their society and voices themes that embody common experience and interest.

The Spanish Conquest established the Western Hemisphere's European presence and its most widely spoken language. While the original conquerors' culture did not value the Native cultures it encountered, over the centuries segments of Hispanic and Native American and later English-speaking and other populations engaged one another, by necessity, in ways that gave rise to today's rich array of cultural identities. New Mexico's distinctive cultural landscape took shape in this way, represented by some peoples who sustain their cultural identities through centuries-old combinations of Indian and European forms of thought and action, and by others whose basis of identity lies in reaffirming the wisdom and relevance of ancestral ways. Festival visitors could witness how, in New Mexico, cultural identity reflects the changes that continue to be wrought from the varieties of these social encounters.

The 1992 Festival also marked the 200th anniversary of the White House. Not a king's palace but rather "the people's house," the White House is at once national symbol, executive office and conference center, ceremonial setting, museum, tourist attraction, and family residence. The Festival revealed the culture of White House workers, who supported this broad array of functions over a span of history shaped by remarkable events, people and social change. White House workers had made the White House work with their labor and dedication. The Festival's living exhibition presented some of the skills, experiences, and values through which they gave shape to their occupational identities, calling visitors' attention to an important human component of the 200 year institutional history.

The 1992 Festival took place during two five-day weeks (June 25-29 and July 2-5) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).

The 1992 Program Book included schedules and participant lists for each program; keynote essays provided background on the Festival and each of the four programs, with shorter essays spotlighting particular traditions and offering a forum for statements from Maroon spokespeople.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordings; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Vivian Chen, Diana Baird N'Diaye, Folklorists; Ken Bilby, Marjorie Hunt, Curators; Carla Borden, John Franklin, Program Managers; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Betty Belanus, Frank Proschan, Nicholas Spitzer, Research Associates

Folklife Advisory Council

Roger Abrahams, Jacinto Arias, Jane Beck, Pat Jasper, Barbara Kirshenblatt-Gimblett, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, John Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

James M. Ridenour, Director; Robert G. Stanton, Regional Director, National Capital Region

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folklore  Search this

Food habits  Search this

Folk festivals  Search this

arts and crafts  Search this

World music  Search this

Folk music  Search this

Folk art  Search this

Genre/Form:

Correspondence

Digital images

Business records

Contracts

Notes

Sound recordings

Plans (drawings)

Negatives

Audiotapes

Memorandums

Slides (photographs)

Audiocassettes

Photographic prints

Video recordings

Videotapes

Citation:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1992

See more items in:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5f73b77d3-05ca-40f8-be62-39e38b1d04cd

EDAN-URL:

ead_collection:sova-cfch-sff-1992

Creator:

Federal Art Project (N.M.)  Search this

Names:

Museum of New Mexico. Art Gallery  Search this

United States. Work Projects Administration  Search this

United States. Works Progress Administration  Search this

Chapman, Manville  Search this

Kavin, Zena  Search this

Kloss, Gene, 1903-  Search this

Morris, James Stovall, 1898-1973  Search this

Extent:

40 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1935-1943

Scope and Contents:

Photographs of works by FAP New Mexico artists: Gene Kloss, Manville Chapman, Zena Kavin, and James S. Morris, from the collection of the Museum of New Mexico Fine Arts Gallery; and a checklist of the photographed work.

Biographical / Historical:

Federal aid art project during the Depression. The Federal Art Project (FAP) fell under the jurisdiction of Federal Project No. 1 of the Works Progress Administration (WPA), established in May 1935 specifically as a work relief program for unemployed artists. Each state and territory had its own programsand were administered aid from the federal government via a local agency.

Provenance:

Prints purchased from Fine Arts Gallery, Museum of New Mexico, 1964.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Topic:

New Deal, 1933-1939  Search this

Federal aid to the arts -- New Mexico  Search this

Federal aid to the public welfare -- New Mexico  Search this

Artists -- United States -- Photographs  Search this

Function:

Programs (organizations)

Agencies

Identifier:

AAA.fedeartp04

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95bb967fc-408e-4083-b1d3-f41ea9a50561

EDAN-URL:

ead_collection:sova-aaa-fedeartp04

Creator:

Federal Writers' Project (N.M.)  Search this

Names:

United States. Work Projects Administration  Search this

United States. Works Progress Administration  Search this

Extent:

90 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1936-1938

Scope and Contents:

Manuscripts and printed material relating to art in New Mexico, including: articles about Spanish colonial, Indian, and modern art; about the Taos art colony; Vernon Hunter; art in specific cities; biographical data on several New Mexico artists; lists of artists and newspaper clippings.

Biographical / Historical:

The Federal Writers' Project was established in 1935 under Federal Project No. One of the Works Progress Administration (WPA). Its primary objective was to create and provide jobs for the individuals, particularly those of the white collar field, who would have otherwise been left unemployed and destitute. Areas covered on FWP programs include cartography, history, art and a variety of other topics.

Provenance:

Lent for microfilming 1970 by the New Mexico State Records Center.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Topic:

New Deal, 1933-1939 -- New Mexico  Search this

Federal aid to the arts -- New Mexico  Search this

Function:

Programs (organizations)

Agencies

Identifier:

AAA.fedewrit

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f2d11a8c-ebb7-4bed-9721-35d3691a5313

EDAN-URL:

ead_collection:sova-aaa-fedewrit

Creator:

Parrott, Alice Kagawa, 1929-2009  Search this

Extent:

7.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1950-2010

Summary:

The papers of Japanese American fiber artist and ceramicist Alice Kagawa Parrott measure 7.1 linear feet and date from circa 1950 to 2010. The papers document Parrott's career as a textile artist and weaver based in Santa Fe, New Mexico. There is a small amount of biographical material; correspondence with family, friends, and art institutions; personal business records mostly of financial records related to Parrott's business The Market later known as Parrott Fabrics Inc.; studio practice files related to equiment, materials, and designs for wall hangings, clothes, and tapestries; printed material such as exhibition catalogs and clippings mostly on Parrott and her arwork but also on other artists; and photographs and slides of Parrott, her weavings, family and friends, and her studio and home.

Scope and Contents:

The papers of Japanese American fiber artist and ceramicist, Alice Kagawa Parrott, measure 7.1 linear feet and date from circa 1950 to 2010. The collection mainly documents Parrott's work as a fiber artist based in Santa Fe, New Mexico. There is a small amount of biographical material; correspondence with family, friends, and colleagues; personal business records mostly of financial records related to Parrott's business The Market later known as Parrott Fabrics Inc.; studio practice files related to equiment, materials, and designs for wall hangings, clothes, and tapestries; printed material such as exhibition catalogs and clippings mostly on Parrott and her arwork but also on other artists; and photographs and slides of Parrott, her weavings, family and friends, her studio and home, and dyeing process.

Arrangement:

The collection is arranged as 6 series.

Series 1: Biographical Material, circa 1957-2009 (0.3 linear feet; Box 1)

Series 2: Correspondence, 1953-2009 (1.2 linear feet; Boxes 1-2)

Series 3: Personal Business Records, circa 1957-2009 (1.9 linear feet; Boxes 2-4, 9)

Series 4: Studio Practice Files, 1951-2005 (2.2 linear feet; Boxes 4-6, 9)

Series 5: Printed Material, 1954-2008 (0.8 linear feet; Boxes 6-7, 9)

Series 6: Photographic Material, circa 1950-2010 (0.7 linear feet; Boxes 7-9)

Biographical / Historical:

Alice Kagawa Parrott (1929-2009) was a Japanese American fiber artist and ceramicist based in Santa Fe, New Mexico.

Parrott was born in Honolulu, Hawaii, in 1929 to Takato and Isono Kagawa who were Japanese immigrants. She graduated from the University of Hawaii at Manoa in 1952, then studied weaving at Cranbrook Academy of Art, where she met ceramicist Toshiko Takaezu, who became a lifelong friend. After graduating from Cranbrook in 1954, she taught weaving and ceramics at the University of New Mexico in Albuquerque, New Mexico.

In 1956, she married Allen Morgan Parrott and they moved to Santa Fe, New Mexico, where they bought a home and adopted their sons Ben and Tim. Also that year, she opened a weaving and craft shop called The Market, which later became Parrott Fabrics Inc. Parrott had many commissions and customers, such as the woodworker Sam Maloof. A notable early commission was from the Santa Fe Opera. From 1971-1972, Parrott was an artist-in-residence in Maui, where she taught workshops and created tapestries for several public commissions. In 1977, she became an American Craft Council Fellow. Parrott participated in numerous exhibitions over the course of her career. Parrott passed away in 2009 in Santa Fe.

Provenance:

The Alice Kagawa Parrott papers were donated in 2019 by Paul Kagawa and Diane Leavitt, trustees of the Alice Kagawa Parrott Family Trust.

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 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:

Artists -- New Mexico -- Santa Fe  Search this

Ceramicists -- New Mexico  Search this

Topic:

Women artists  Search this

Asian American artists  Search this

Asian American art  Search this

Japanese American art  Search this

Asian American fiber artists  Search this

Asian American ceramicists  Search this

Citation:

Alice Kagawa Parrott papers, circa 1950-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.parralic

See more items in:

Alice Kagawa Parrott papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9288e78de-5af2-41d7-a866-c6c2f8e67ec0

EDAN-URL:

ead_collection:sova-aaa-parralic

Creator:

M.O.R.E. (Minority Owned Record Enterprises)  Search this

Extent:

1 Item

Type:

Collection descriptions

Archival materials

Phonograph records

Compact discs

Audiotapes

Date:

undated

Summary:

Contains LPs, cassettes and CDs issued by the M.O.R.E record label.

Arrangement note:

This collection has not been processed.

Biographical/Historical note:

Roberto Martínez founded the record label M.O.R.E (Minority Owned Records Enterprises) in Albuquerque, New Mexico, to document and disseminate the regional Hispanic musical tradition of New Mexico. Under this label, he has recorded albums by Los Reyes de Albuquerque, Lorenzo Martínez, Debbie "La Chicanita" and other New Mexican artists. Martinez' musical activism led him to begin composing about political events, including corridos, or ballads, on contemporary topics. Much of the music issued on the M.O.R.E. lable features Mariachi favorites in familiar arrangements of guitarra, requinto, vihuela, guitarron, violin and trompete, as well as the lyrical New Mexican violin style.

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.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk songs, Spanish -- New Mexico  Search this

Folk music -- New Mexico  Search this

Genre/Form:

Phonograph records

Compact discs

Audiotapes

Citation:

M.O.R.E. audiorecordings, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.MORE

See more items in:

M.O.R.E. audiorecordings

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk58de87177-5654-471d-b628-fc5b95fd1269

EDAN-URL:

ead_collection:sova-cfch-more

Creator:

Christ-Janer, Albert, 1910-1973  Search this

Names:

Michigan State University -- Faculty  Search this

New York University -- Faculty  Search this

Pennsylvania State University -- Faculty  Search this

Pratt Institute -- Faculty  Search this

Stephens College  Search this

University of Chicago -- Faculty  Search this

University of Georgia -- Faculty  Search this

Bingham, George Caleb, 1811-1879  Search this

Christ-Janer, Virginia Morgan Carpenter  Search this

Robinson, Boardman, 1876-1952  Search this

Saarinen, Eliel, 1873-1950  Search this

Zoller, Edwin W., 1900-1967  Search this

Extent:

54.6 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Christmas cards

Sound recordings

Blueprints

Scrapbooks

Photographs

Prints

Drawings

Sketches

Date:

1915-circa 1993

bulk 1930-1981

Summary:

The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.

Scope and Contents:

The papers of art historian, educator, painter, and printmaker Albert Christ-Janer measure 56.3 linear feet and date from 1915 to circa 1993, with the bulk of the materials dating from 1930 to 1981. The papers include biographical materials, personal and professional correspondence, writings, professional files, project files, teaching files, exhibition files, financial and estate records, printed material, scrapbooks and scrapbook material, photographs, artwork, and artifacts.

Biographical material includes address books; awards, certificates and diplomas; chronologies, biographies, and resumes; material relating to Albert Christ-Janer's death, including memorial services and a sound tape reel memorial; and information and blueprints for residences, among other materials.

Correspondence includes Christmas cards from other artists and professional correspondence, much of it relating to his work at various institutions, including Michigan State University, New York University, Pennsylvania State University, Pratt Institution, and foundations. Also included is Virginia Christ-Janer's correspondence regarding Christ-Janer's artwork and career, his death in Italy, as well as general correspondence and letters between Virginia and Albert. Additional correspondence is found within the Professional Files, Project Files, and Teaching Files.

Writings by Christ-Janer include articles, book reviews, essays, notes, and eleven notebooks. There are also a few miscellaneous articles and writings about Christ-Janer written by others. There are 38 annotated appointment notebooks and five of Virginia Christ-Janer's annotated appointment books. Annotations are about meetings, travel, and general thoughts.

Albert Christ-Janer's book projects are documented in the Project Files series. There are drafts, manuscripts, research, and correspondence relating to the research, writing, and publication of five of his books, including George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962), and Modern Hymns (1980). Project files also include files regarding proposed projects.

Professional files document Christ-Janer's work at various institutions, as a consultant, on juried art exhibitions, memberships in arts associations, activities at conferences and committees, and the development of art centers in cities and educational institutions. There is significant documentation of his work planning and developing an arts center in New York City and at New York University, as well as his positions at Pennsylvania State University, Pratt Institute, University of Chicago, and University of Georgia. Also found are materials relating to professional trips taken to El Paso, Italy, Scandinavia, and other parts of Europe.

Teaching files consist of syllabi, lecture notes and course materials, class record books, and other documents for positions at New York University, Pennsylvania State University, Stephens College, University of Georgia, and other institutions. Exhibition files are comprised of lists, prizes and awards, and other scattered documentation of Christ-Janer's solo and group exhibitions.

Financial and estate records include five account books, miscellaneous bills and receipts, a will and estate taxes and financial papers, and files for gallery transactions, lists of galleries representing Christ-Janer, lists of museum and private collectors of Christ-Janer's artwork. Printed materials include exhibition catalogs and announcements, published versions of Christ-Janer's books, books written by others and annotated by Christ-Janer, clippings, magazines, reviews, and printed material relating to Pratt Institute. There is one bound scrapbook and several files of loose scrapbook materials.

The scrapbooks series consists of one completed scrapbook concerning Christ-Janer's book on George Caleb Bingham, as well as several folders of general scrapbook files.

Photographs and slides depict Albert Christ-Janer, family, friends, artists, colleagues, exhibitions, and also include photographs compiled for published books.

Artwork includes numerous drawings, sketches, one sketchbook, and 111 lithographs by Albert Christ-Janer. There are also sketches and drawings by Charles Massey, John D. Whiting, Edwin Zoller, and others. Miscellaneous artifacts include a business card die, exhibition medals and trophy, handmade paperweight, a block-printed piece of fabric, and three graduation hoods.

Arrangement:

This collection is arranged as 14 series:

Missing Title

Series 1: Biographical Material, circa 1930-circa 1986 (Boxes 1-2, 51, 53, 67, OV 54, OV 57; 2.1 linear feet)

Series 2: Correspondence, circa 1937-1990 (Boxes 2-16, 51, 67, OV 55; 15.1 linear feet)

Series 3: Writings, circa 1930s-1972 (Boxes 16-18, 51; 1.5 linear feet)

Series 4: Appointment Books, 1939-1973 (Boxes 18-21; 2.9 linear feet)

Series 5: Professional Files, circa 1933-circa 1986 (Boxes 21-28, 51-52, 67-69; 10 linear feet)

Series 6: Project Files, 1937-circa 1981 (Boxes 28-34, 51, 69; 6.1 linear feet)

Series 7: Teaching Files, circa 1939-circa 1973 (Boxes 34-35; 0.6 linear feet)

Series 8: Exhibition Files, circa 1938-circa 1992 (Boxes 35-38; 2.7 linear feet)

Series 9: Financial and Estate Records, circa 1947-1992 (Boxes 38-40; 2.4 linear feet)

Series 10: Printed Material, 1915-circa 1993 (Boxes 40-49, 51-52, 69; 8.7 linear feet)

Series 11: Scrapbooks, circa 1936-circa 1952 (Boxes 49, 51; 0.5 linear feet)

Series 12: Photographs, circa 1937-circa 1986 (Boxes 49-51, OV 56; 0.7 linear feet)

Series 13: Artwork, circa 1933-circa 1970s (Boxes 50-52, 69, OV 58-66; 1.1 linear feet)

Series 14: Artifacts, 1923-circa 1986 (Boxes 50, 53; 0.9 linear feet)

Biographical / Historical:

Albert Christ-Janer (1910-1973) was a painter, printmaker, art historian, writer, and educator active at colleges and universities across the U.S.

Albert Christ-Janer was born in Appleton, Minnesota in 1910 and studied at the Art Institute of Chicago, Yale University, and Harvard University. Christ-Janer wrote about American artists Boardman Robinson and John Caleb Bingham, and taught at a variety of institutions, including Stephens College, Cranbrook Academy, Pratt Institute Art School, and the University of Georgia. He was also an artist-in-residence at Tamarind Lithography Workshop in 1972.

Christ-Janer began his teaching career at Stephens College in Columbia, Missouri in 1934, and soon became head of the art department. He moved to Michigan to accept the position of head of the art department and professor of art at Michigan State University in 1942. In 1945, he began working for the Cranbrook Academy in Bloomfield Hills, Michigan, serving as director of the educational program, director of the museum and library, and professor of art history.

In 1947, Christ-Janer moved to Chicago and worked at the University of Chicago and the Arts Center Association, Inc. In the 1950s, he served as director of Arts Center Development at New York University, director of the School of Arts at Pennsylvania State University, and on the Lake Erie College Board of Trustees. In 1958, he moved to New York and become dean of the School of Art and Design at the Pratt Institute in Brooklyn, later becoming director. He left Pratt in 1970 to accept the position of Fuller E. Callaway Professor of Art at the University of Georgia, where he remained until his tragic death in 1973.

Christ-Janer was the author of several books: Art in Child Life (University of Iowa Press, 1938), George Caleb Bingham of Missouri (Dodd, Mead and Company, 1940), Boardman Robinson (Unversity of Chicago Press, 1946), Eliel Saarinen (University of Chicago Press, 1948), and Modern Church Architecture, with Mary Mix Foley (McGraw-Hill, 1962).

Albert Christ-Janer was a Guggenheim Fellow in 1950, awarded the Rockefeller Award in 1954, and the Guggenheim Award in 1960. He was also awarded multiple grants from the American Philosophical Society and the J. M. Kaplan Fund for research and work in lithography, as well as multiple Arthur Judson grants. In 1972 Christ-Janer was the Tamarind artist-in-residence at the University of New Mexico in Albuquerque.

Christ-Janer traveled often. In 1962 he was a guest of the Bonn government for two months to visit museums and schools of design in Germany. And in 1964, he was a guest of the governments of Denmark, Norway, Finland, and Sweden for two months to study schools, museums, and cultural centers. In July of 1973, Christ-Janer was the official NASA artist for the Skylab III launch, and in October of 1973, he was the studio guest of the Norway-America Association and the Norwegian government in Oslo. From November to December of 1973, Christ-Janer was the scholar-in-residence at the Study and Conference Center of the Rockefeller Foundation (Centro Culturale delle Fondazione Rockefeller), at the Villa Serbelloni in Bellagio (Como), Italy.

Albert Christ-Janer was killed in an automobile accident in Bellagio (Como), Italy on December 12, 1973.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Albert Christ-Janer conducted by Dorothy Seckler, March 21, 1964.

Albert Christ-Janer's research materials for his book American Hymns Old and New (1980) are found at the St Olaf College in Northfield, Minnesota, a center for the study of hymns.

Provenance:

The Albert Christ-Janer papers were donated by Virginia Christ-Janer in 1980-1981 and 1994.

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 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.

Occupation:

Printmakers -- Georgia  Search this

Painters -- Georgia  Search this

Art historians -- Georgia  Search this

Topic:

Art -- Study and teaching  Search this

Genre/Form:

Sketchbooks

Christmas cards

Sound recordings

Blueprints

Scrapbooks

Photographs

Prints

Drawings

Sketches

Citation:

Albert Christ-Janer papers, 1915-circa 1993, bulk 1930-1981. 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.

Identifier:

AAA.chrialbe

See more items in:

Albert Christ-Janer papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9584bb216-26f7-46c7-9acc-dd6fe21ea117

EDAN-URL:

ead_collection:sova-aaa-chrialbe

Creator:

Ojeda, Naúl, 1939-2002  Search this

Names:

Bader, Franz, 1903-1994  Search this

Berrutti, Azucena  Search this

Caicedo Garzón, Armando  Search this

Haber, Alicia  Search this

Vila, Ernesto  Search this

Extent:

5.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Sketchbooks

Video recordings

Date:

circa 1960-2004

circa 2013

Summary:

The papers of Uruguayan born Washington, D.C. painter and printmaker Naúl Ojeda measure 5.9 linear feet and date from circa 1960-2004, and circa 2013. The papers document Ojeda's personal and professional life through biographical materials, correspondence, exhibition and gallery files, professional files, financial material, printed and broadcast materials, scrapbooks, artwork and sketchbooks, and a small amount of photographic material.

Scope and Contents:

The papers of Uruguayan born Washington, D.C. painter and printmaker Naúl Ojeda measure 5.9 linear feet and date from circa 1960-2004, and circa 2013. The papers document Ojeda's personal and professional life through biographical materials, correspondence, exhibition and gallery files, professional files, financial material, printed and broadcast materials, scrapbooks, artwork and sketchbooks, and a small amount of photographic material.

Biographical material includes immigration records, resumes, and a few certifications and credentials. Correspondence is personal and professional, with correspondents including Ojeda's family, and friends, and some general professional correspondents, including Alicia Haber, Moira Bowers, Ernesto Vila, Eduardo Galeano, Enrique Gomez, Armando Caicedo Garzón, Walter Jesus Gonzalez, Azucena Berrutti, and others.

Exhibition and gallery files document Ojeda's relationship with galleries, museums, and civic and cultural organizations, and include records of specific exhibitions as well as general documentation related to sales and commissions of his artwork. They include records of the exhibition In Honor of Franz Bader (1995), with a related video recording. Professional files document other activities including Ojeda's involvement with community organizations, art contests that he entered, work he was commissioned to do for businesses and organizations, and permissions for use of his work for a variety of publications, events, and media outlets. Financial records include a small but detailed number of records of sales with sales books, price lists and receipts.

Printed and broadcast materials provide a fairly comprehensive overview of Ojeda's career from the 1960s on, with announcements and catalogs for multiple exhibitions, news clippings from foreign and domestic newspapers, and posters, flyers, and other publications with illustrations by Ojeda. Three broadcast video recordings about his work and exhibitions can also be found here. This material is supplemented by two scrapbooks documenting Ojeda's exhibitions and news items about his career, from the 1960s to early 1980s.

The collection contains a substantial amount of artwork, including drawings, sketches, poster mockups, prints including woodcut proofs, and sixteen sketchbooks for various projects.

A small amount of photographic material includes three photos of a 1968 exhibition in Uruguay, photocopies of photos of a family group, and negatives including images of Ojeda in the studio.

Arrangement:

The bulk of Ojeda's papers initially combined Ojeda's records of his professional activities, including records of exhibitions and gallery transactions, and financial records in a single alphabetical file. To facilitate access this arrangement has been refined further into three smaller series (Series 3-5).

Series 1: Biographical Materials, 1963-1997 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1960s-2002 (Box 1, OV 9; 0.8 linear feet)

Series 3: Exhibition and Gallery Files, 1966-2004 (Boxes 1-2, 6; 0.9 linear feet)

Series 4: Professional Files, 1979-2002 (Boxes 2-3, 6; 0.65 linear feet)

Series 5: Financial Records, circa 1970-2004, circa 2013 (Box 3; 0.25 linear feet)

Series 6: Printed and Broadcast Materials, 1962-2003 (Boxes 3-4, 6-7, OV 10; 1.1 linear feet)

Series 7: Scrapbooks, 1961-1981 (Box 7; 0.2 linear feet)

Series 8: Artwork, circa 1960-circa 2000 (Boxes 4, 8, OVs 9, 11-14; 1.0 linear feet)

Series 9: Sketchbooks, circa 1967-2001 (Boxes 4-5, 8; 0.5 linear feet)

Series 10: Photographic Material, 1968-circa 2000 (Box 5; 0.3 linear feet)

Biographical / Historical:

Naúl Ojeda (1939-2002) was a painter and printmaker in Washington, D.C.

Ojeda was born in Uruguay and studied fine arts at the University of Uruguay. The political climate of Uruguay in the 1970s led Ojeda to leave the country. He traveled to France, Chile, and Mexico before settling in Washington, D.C. While in Chile, Ojeda covered the presidency of Salvador Allende as a photojournalist. He selected fifty of the photographs of that period for his exhibition Homage to the People of Chile at the Galeria Inti Centro de Arte in Washington, D.C.

Ojeda was best known for his woodblock prints and linocuts, which he printed by hand in small editions, usually of no more than twenty-five prints. He also had some success with decorated furniture, both pieces he designed and painted, and pieces he decorated. Although his images appear whimsical, they often express themes of separation from his homeland and family. His work has been shown in numerous exhibitions throughout the United States as well as in Europe and South America including Immigrant Artists/American Experience (1985-1987) and an exhibition in 1995 honoring Franz Bader, the owner of the Franz Bader Gallery in Washington, D.C. Bader and Ojeda bonded over their shared immigrant experiences. Bader represented Ojeda for nearly 20 years and frequently held exhibitions of Ojeda's work at his gallery.

Ojeda's work is represented in private collections as well as the collections of the Smithsonian American Art Museum and the Art Museum of the Americas, in Washington, D.C., the Museum of Modern Art in New York, and the National Hispanic Cultural Center in Albuquerque, New Mexico. Ojeda also produced illustrations for The Washington Post Book World, Washington Review, Curbstone Press, and the Institute for Policy Studies among others.

During his career Ojeda received several awards, including the 2001 Distinguished Immigrant Award from the American Immigration Law Foundation. He was also the recipient of several grants from the D.C. Commission of the Arts and Humanities, including grants to illustrate the poems of Pablo Neruda and Federico Garcia Lorca.

Ojeda died in 2002 in Washington, D.C.

Provenance:

The Naúl Ojeda papers were donated in 2016 by Philomena "Pennie" Ojeda.

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 -- Washington (D.C.)  Search this

Printmakers -- Washington (D.C.)  Search this

Topic:

Latino and Latin American artists  Search this

Genre/Form:

Drawings

Scrapbooks

Sketchbooks

Video recordings

Citation:

Naúl Ojeda papers, circa 1960-2004, circa 2013. 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.ojednaul

See more items in:

Naúl Ojeda papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99e06c6a1-38fd-40c5-a1fa-3a1d309ef776

EDAN-URL:

ead_collection:sova-aaa-ojednaul

Editor:

Mithlo, Nancy Marie  Search this

Writer of foreword:

Martin, Robert  Search this

Subject:

Museum of Contemporary Native Arts  Search this

Institute of American Indian Arts  Search this

Physical description:

xvii, 196 pages, 76 unnumbered pages of plates illustrations (chiefly color), portraits 26 cm

Type:

Books

Place:

United States

États-Unis

Date:

2020

Topic:

Indian art--Study and teaching  Search this

Art criticism--Study and teaching  Search this

Critique d'art--Étude et enseignement  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1159621

Creator:

Smith, Joseph Lindon, 1863-1950  Search this

Names:

Académie Julian  Search this

Alma-Tadema, Lawrence, Sir, 1836-1912  Search this

Beaux, Cecilia, 1855-1942  Search this

Benson, Frank Weston, 1862-1951  Search this

Brush, George de Forest, 1855-1941  Search this

Carson, Kit, 1809-1868  Search this

Gardner, Isabella Stewart, 1840-1924  Search this

James, Henry, 1843-1916  Search this

Loring, Charles Greely, 1828-1902  Search this

Manship, Paul, 1885-1966  Search this

Pershing, John J. (John Joseph), 1860-1948  Search this

Ross, Denman Waldo, 1853-1935  Search this

Sargent, John Singer, 1856-1925  Search this

Smith, Corinna Lindon, 1876-  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Extent:

8.8 Linear feet

Type:

Collection descriptions

Archival materials

Notebooks

Photographs

Prints

Interviews

Drafts (documents)

Sound recordings

Scrapbooks

Diaries

Sketchbooks

Drawings

Place:

Egypt -- Antiquities

Egypt -- description and travel

Date:

1647-1965

bulk 1873-1965

Summary:

The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.

Scope and Content Note:

The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.

Scattered biographical material consists of family history documents for the Smith and Putnam families, a Jenkes family tree, and passports for Joseph Lindon Smith and his family.

Over three linear feet of letters are from family members, artists including Cecilia Beaux, Frank Benson, George DeForest Brush, and Denman Ross, museum staff concerned with work in Egypt, and art patrons including Isabella Stewart Gardner, and individuals involved with Smith's charitable pageants. There are scattered letters from Lawrence Alma-Tadema, Henry James, Charles G. Loring, Paul Manship, General John J. Pershing, John Singer Sargent, and Abbott Handerson Thayer. Among the subjects discussed are student life at the Académie Julian, the Smiths' travels, and individuals known by Smith.

Seven diaries written by Joseph Lindon Smith document his ravels in Egypt, Persia, Europe, and New Mexico. Two diaries were written by Corinna Smith during her travels to Beiram and Egypt.

Personal business records business records include contracts, price lists, lists of securities, and miscellaneous receipts of the Smith and Putnam families, Joseph Lindon Smith, Corinna Smith, and their daughter Lois Smith.

Notes include engagement calendars, notebooks, lists of art work, lecture notes, minutes of meetings, notes on family history and on travel, and an autograph by Kit Carson. Writings include miscellaneous typescripts by the Smiths and others concerning travel, work in Egypt and elsewhere, and anecdotes about various friends and acquaintances. There are also three drafts of "Egypt - My Winter Home."

Theatrical production files concern plays, pageants, and masques written and/or produced by the Smiths. Many of the performances were benefits, dedication or anniversary celebrations, such as a pageant given at Fenway Court in honor of Isabella Stewart Gardner, a pageant at the dedication of a memorial to Abbott Handerson Thayer, and the centenary celebration of the founding of Amherst, Massachusetts.

Art work includes a sketchbook with extensive notes, a painting, drawings by Joseph Lindon Smith, and prints by other artists.

A scrapbook contains clippings and an exhibition catalog from the St. Botolph Club. Additional printed material includes clippings, exhibition announcements and catalogs, press releases, programs, booklets, brochures, and books by others.

Photographs are of Smith, his family, friends including classmates from the Académie Julian, Isabella Stewart Gardner, Abbott Handerson Thayer, exhibition installations, military camp sites from World War I, travel scenes, and art work by Smith.

Audio recordings consist of four sound disc recordings of interviews for WKNE Radio, Keene, New Hampshire, with Corinna Smith and Barry Faulkner talking about Smith, and a program about Smith and his book Tombs, Temples, and Ancient Art.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1711-1948 (Box 1, 10; 5 folders)

Series 2: Letters, 1768-1965 (Box 1-4, OV 11; 3.5 linear feet)

Series 3: Diaries, 1904-1949 (Box 4; 11 folders)

Series 4: Personal Business Records, 1647-1959 (Box 4, 10; 11 folders)

Series 5: Notes and Writings, 1783-1963 (Box 4-6; 2.0 linear feet)

Series 6: Theatrical Production Files, 1897-1950 (Box 6-7, 10; 1.2 linear feet)

Series 7: Art Works, 1932-1943 (Box 8, 10; 8 folders)

Series 8: Scrapbook, 1888-1901 (Box 8; 1 folder)

Series 9: Printed Material, 1723-1963 (Box 8, OV 11; 0.8 linear feet)

Series 10: Photographs, 1884-1956 (Box 8-10; 0.5 linear feet)

Series 11: Audio Recordings, 1956 (Box 9-10; 2 folders)

All material is arranged chronologically except for the writings by others and travel photographs that are arranged alphabetically.

Biographical Note:

Joseph Lindon Smith (1863-1950) of Boston, Massachusetts and Dublin, New Hampshire, was a painter primarily known for his ability to meticulously depict the murals and tomb sculpture of Egypt and other ancient cultures.

Joseph Lindon Smith was born on October 11, 1863 in Pawtucket, Rhode Island, the son of wholesale lumberman Henry Francis Smith and Emma Greenleaf Smith, a cousin of John Greenleaf Whittier.

From 1880 to 1882, Smith studied drawing and painting at the Art School of the Boston Museum of Fine Arts under Frederic Crowninshield and Otto Grundman. Accompanied by his friend, Frank Benson, he attended the Académie Julian and studied under William Bouguereau, Gustave Boulanger, and Jules Lefebvre from 1883 to 1885.

Upon his return to Boston, Smith established a studio as a portrait and landscape painter, attracting the attention of Denman Ross, a professor of History of Fine Arts at Harvard University. In the early 1890s Smith and Ross began to travel extensively and Smith became interested in ancient civilizations of Mexico, China, and Southeast Asia. In 1892, during a trip to Italy, Smith befriended Isabella Stewart Gardner, for whom he copied famous paintings, and occasionally acted as agent in purchasing art work.

Making his first trip to Egypt in 1898, Smith became enthralled with the art work of the ancient civilization and devoted himself to painting copies of the tomb sculptures and murals for educational uses in museums and other public institutions. In 1899, he married Corinna Haven Putnam and the couple spent much of their married life traveling between the United States and the Middle East, especially Egypt. From 1910 to 1939, Smith was a member of the Joint Expedition of the Boston Museum of Fine Arts and Harvard University directed by Dr. George A. Reisner.

For fifty years, Smith was also sought out as a writer and producer of plays and theatrical pageants, fetes, and masques primarily staged for various charitable fund-raising events.

Joseph Lindon Smith died on October 18, 1950 in Dublin, New Hampshire.

Related Material:

The papers of Smith's wife, Corinna Putnam Smith, are available at The Schlesinger Library of Radcliffe College, Cambridge, Massachusetts.

Provenance:

The Joseph Lindon Smith papers were donated by Jessie T. Hale, Smith's granddaughter, in 1977 and 1978.

Restrictions:

Use of original papers 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:

Painters -- New Hampshire -- Dublin  Search this

Topic:

Historical drama  Search this

Community theater  Search this

Art, Egyptian  Search this

Art, Ancient  Search this

Art, Egypt  Search this

Genre/Form:

Notebooks

Photographs

Prints

Interviews

Drafts (documents)

Sound recordings

Scrapbooks

Diaries

Sketchbooks

Drawings

Citation:

Joseph Lindon Smith papers, 1647-1965, bulk 1873-1965. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.smitjose

See more items in:

Joseph Lindon Smith papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw957fba9cb-a7d1-40b4-9a66-a5f4d2a0b7ed

EDAN-URL:

ead_collection:sova-aaa-smitjose

Artist:

CYJO (Cindy Hwang), born 13 Jun 1974  Search this

Sitter:

Dana Tai Soon Burgess, born 26 Feb 1968  Search this

Medium:

Inkjet print

Dimensions:

Image: 41.9 × 27.9 cm (16 1/2 × 11")

Sheet: 48.3 × 32.9 cm (19 × 12 15/16")

Mat: 71.1 × 55.9 cm (28 × 22")

Type:

Photograph

Date:

December 16, 2007 (printed April 1, 2014)

Topic:

Interior  Search this

Costume\Jewelry\Watch  Search this

Costume\Dress Accessory\Belt  Search this

Dana Tai Soon Burgess: Male  Search this

Dana Tai Soon Burgess: Performing Arts\Performer\Dancer  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery; Smithsonian Institution; acquired through the generosity of Ms. Gie Kim and Mr. Rich Chang

Object number:

C/NPG.2015.30

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2007 CYJO

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm43f60afdf-5387-4584-a036-5bd3df18254c

EDAN-URL:

edanmdm:npg_C_NPG.2015.30

Creator:

Hurd, Peter, 1904-1984  Search this

Subject:

Nixon, Pat  Search this

Eisenhower, Julie Nixon  Search this

Horgan, Paul  Search this

Annenberg, Walter H.  Search this

Eisenstaedt, Alfred  Search this

Wyeth, Henriette  Search this

Wyeth, N. C. (Newell Convers)  Search this

Nixon, Pat  Search this

Horgan, Paul  Search this

Type:

Photographs

Drawings

Citation:

Peter Hurd and Henriette Wyeth Hurd papers, 1917-1993. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)10392

(DSI-AAA_SIRISBib)213768

AAA_collcode_hurdpete

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213768

Creator:

Sauer, Jane, 1937-  Search this

Subject:

Larsen, Jack Lenor  Search this

Jane Sauer Gallery  Search this

American Craft Council  Search this

Type:

Drawings

Sketchbooks

Citation:

Jane Sauer Papers and Gallery records, 1898-2013. Archives of American Art, Smithsonian Institution.

Topic:

Women art dealers  Search this

Theme:

Art Market  Search this

Record number:

(DSI-AAA_CollID)16327

(DSI-AAA_SIRISBib)379672

AAA_collcode_janesaug

Theme:

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_379672

Creator:

Gill, De Lancey, 1859-1940  Search this

Extent:

3 Drawings (pencil, 11 x 15 inches )

1 Page (explanatory note)

Container:

Box 7372 / 7408 / 7413, Folder 1

Culture:

Cocopa  Search this

Type:

Collection descriptions

Archival materials

Graphic Materials

Drawings

Pages

Works of art

Place:

Colorado River Valley (Colo.-Mexico)

North America

Date:

1900

Scope and Contents:

This collection is comprised of three (3) drawings and an explanatory note. Two drawings depict land markings along the Colorado River valley, south of Yuma and adjacent to several Cocopa villages. The note describes marks made depicted in one of these drawings. The third drawing depicts face markings on Cocopa men and women.

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

Biographical Note:

De Lancey W. Gill (1859-1940) was a Washington, DC-based artist and photographer. Between 1884 and 1898, he served as a draftsman and illustrations editor for the United States Geological Survey. From 1889-1932, he also worked as illustrations editor for the Bureau of American Ethnology. Gill made over 2,000 portraits during his career, some during anthropological expeditions to Virginia, Arizona, New Mexico and northwestern Mexico. In 1900, he served as artist on an expedition led by W J McGee to study the Seri and Cocopa along the Colorado River.

Local Numbers:

NAA MS 7372

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Body marking  Search this

Genre/Form:

Works of art

Drawings

Citation:

MS 7372 De Lancey Gill drawings of Cocopa face and land markings, National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.MS7372

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw347ed8d0f-0734-4c7f-859a-e2da14f2cea1

EDAN-URL:

ead_collection:sova-naa-ms7372

Creator:

Gammon, Reginald, 1921-2005  Search this

Names:

Anacostia Community Museum  Search this

Harwood Art Center (Albuquerque, N.M.)  Search this

Midtown Galleries (New York, N.Y.)  Search this

National Afro-American Museum and Cultural Center (U.S.)  Search this

New Mexico African American Artists' Guild  Search this

Schomburg Center for Research in Black Culture, New York Public Library  Search this

Spiral (Group of artists)  Search this

Western Michigan University -- Faculty  Search this

Andrews, Benny, 1930-2006  Search this

Bearden, Romare, 1911-1988  Search this

Browne, Vivian E., 1929-1993  Search this

Fray, Thomas  Search this

Greenberg, Joseph J., 1915-1991  Search this

King, Patrick  Search this

Lee-Smith, Hughie  Search this

Overton, Harry  Search this

Wynberg, Jonathan  Search this

Extent:

2.4 Linear feet

5.3 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Interviews

Paintings

Sketches

Drawings

Sound recordings

Video recordings

Date:

1927-2007

bulk 1960-2005

Summary:

The papers of African American painter, printmaker, and educator Reginald Gammon measure 2.4 linear feet and 5.30 GB and date from 1927 to 2007, with bulk of the materials dating from 1960-2005. The collection consists of scattered biographical materials, including video and sound recordings of interviews; correspondence with artists, galleries, organizations, and museums; writings and notebooks; teaching files; printed materials; photographic material; and artwork in the form of sketches, drawings, and paint sketches.

Scope and Contents:

The papers of African American painter, printmaker, and educator Reginald Gammon measure 2.4 linear feet and 5.30 GB and date from 1927 to 2007, with bulk of the materials dating from 1960-2005. The collection consists of scattered biographical materials, including video and sound recordings of interviews; correspondence with artists, galleries, organizations, and museums; writings and notebooks; teaching files; printed materials; photographic material; and artwork in the form of sketches, drawings, and paint sketches.

Biographical materials include Gammon's academic records and diplomas, certificates, military records, an address book, and information about his memorial service. There is a folder on The Spiral Group which includes an exhibition catalog and photographs. There are video interviews, a conversation video, and two TV advertisements, all digital; one analog and one digital audio interview.

Approximately one-half of the collection consists of correspondence with other artists, museums, galleries and arts organizations. Correspondents include Benny Andrews, Romare Bearden, Vivian Browne, Thomas Frey, Joseph Greenberg, Harwood Art Center, Patrick King, Hughie Lee-Smith, Midtown Galleries, National Afro-American Museum & Cultural Center, New Mexico African American Artists Guild, Harvey Overton, Schomberg Center, Smithsonian Institution's Anacostia Museum, Western Michigan University, and Jonathan Wynberg, among many others.

Writings by Gammon consists of essays, a research proposal, notes, grant applications, and notebooks wherein Gammon jotted down thoughts and drafted letters.

Teaching files are related to Reginald Gammon's tenure at Western Michigan University. There are teaching certifications, lecture notes, one sound recording (sound cassette) of a lecture, student recommendations, and grade books, among other items.

Printed materials primarily consist of exhibition catalogs and announcements, including the catalog Ida Y Vuelta on Gammon's 1998 exhibition in Rodez, France. Other materials found in this series are clippings that feature Gammon and his work, periodicals, posters designed by Gammon, and source materials related to jazz. and limited subject files.

Photographic materials include prints, slides, digital photographs, and negatives depicting Reginald Gammon and his artwork, friends and family, and various studios and events.

Artwork includes pencil and ink sketches, drawings, and paint sketches. The series also contains storyboards for children's books as well as mockups for advertisements.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1936-2006 (0.2 linear feet; Box 1, 3, 5.29 GB; ER01-ER03)

Series 2: Correspondence, 1964-2005 (0.8 linear feet; Box 1-3)

Series 3: Writings and Notebooks, 1948-circa 2000 (0.1 linear feet; Box 2)

Series 4: Teaching Files, 1969-1991 (0.1 linear feet; Box 2)

Series 5: Printed Material, 1955-2005 (0.4 linear feet; Box 2, OV 4)

Series 6: Photographic Material, 1927-2007 (0.2 linear feet; Box 2-3, 0.010 GB; ER04)

Series 7: Artwork, 1937-circa 1999 (0.5 linear feet; Box 2-3)

Biographical / Historical:

Reginald A. Gammon (1921-2005) was a painter and art educator who worked in New York City, Michigan, and Albuquerque, New Mexico. He was a member of Spiral, an African American artist's collective based in New York City, as well as a member of the New Mexico Afro-American Artist Guild. He taught in the New York public schools and at Western Michigan University.

Gammon was born and raised in Philadelphia, Pennsylvania. In 1941, he received a scholarship to study art at the Philadelphia Museum College of Arts (then the Philadelphia Museum School of Industrial Arts) and the following summer worked in the Philadelphia Naval Shipyard refurbishing battleships for the war effort. While working, he also attended school at night. He was drafted and served in the Navy from 1944-1946 with an African-American unit stationed in Guam. He lived in Philadelphia briefly after the war and moved to New York City in 1948. During his early years in New York City, Gammon worked at various jobs such as sorting mail for the post office and designing advertising copy. Around this time, he first met his future wife Janice Goldberger whom he married in 1972.

In 1963, Gammon was invited to join Spiral, a group of African American artists which included Charles Alston, Romare Bearden, Alvin Hollingsworth, Norman Lewis, Richard Mayhew, and Hale Woodruff. As a member of this group, Gammon participated in the 1965 exhibition First Group Showing: Works in Black and White. Spiral disbanded later that same year. In 1969, Gammon and Benny Andrews formed the Black Emergency Cultural Coalition. This politically active group of artists picketed the Metropolitan Museum of Art and the Whitney Museum of Modern Art to protest the exclusion of black artists and curators.

Gammon also taught at the Saturday Academy Program for New York public schools. He set up an informal studio so that children from Harlem could work with resident artists. This position and a recommendation from Hughie Lee-Smith led to an offer from Western Michigan University for a visiting lectureship that turned into a full-time teaching position in which Gammon served until 1991, when he retired as Full Professor Emeritus of Fine Arts and Humanities.

After his retirement from Western Michigan University, Gammon and his wife moved to Albuquerque, New Mexico and he became involved in the New Mexico Afro-American Artist Guild and the Albuquerque United Artists, among other civic organizations. He regularly participated in exhibitions and art fairs sponsored by the Guild and served as their treasurer from 1999 until his death. He was artist-in-residence from 1992-2005 at the Harwood Art Center where he also maintained a studio.

Gammon was also one of the founding members of the New Grounds Print Workshop, where he completed his final collection of artworks - a collection of over 100 prints of historically significant gospel singers and jazz musicians. Gammon died on November 4, 2005.

Provenance:

The collection was donated in 2007 and 2008 by Reginald Gammon's widow Janice Gammon.

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 and electronic records 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.

Occupation:

Printmakers -- New Mexico  Search this

Painters -- New Mexico -- Albuquerque  Search this

Educators -- New Mexico -- Albuquerque  Search this

Educators -- Michigan  Search this

Topic:

Art -- Study and teaching  Search this

Artists' studios -- Photographs  Search this

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Genre/Form:

Photographs

Interviews

Paintings

Sketches

Drawings

Sound recordings

Video recordings

Citation:

Reginald Gammon papers, 1927-2007, bulk 1960-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.gammreg

See more items in:

Reginald Gammon papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90788f342-725f-4d47-8d83-9603f237e656

EDAN-URL:

ead_collection:sova-aaa-gammreg