The collection has been digitized and is available online via AAA's website.
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:
Prentiss Taylor papers, 1885-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art. Funding for the conservation of Prentiss Taylor's photograph album, 1929-1939, was
provided by the Smithsonian Women's Committee.
An interview of Carmen Lomas Garza conducted 1997 Apr. 10-May 27, by Paul Karlstrom, for the Archives of American Art.
Lomas Garza discusses her working environment at Hunter Point Shipyard, a former naval facility on San Francisco Bay, near Candlestick Park, occupied by artists and small businesses; growing up in Kingsville, Tex., near Corpus Christi; her education at Texas A and I University (now Texas A and M) and graduating from the University of Texas at Austin with a B.S. in art education (1969); her activism in the Chicano movement during her college years; joining the farm workers march in Kingsville in 1965; installing an art show for MAYO (Mexican Workers Youth Organization) conference in 1969; the impact upon her of MAYO's walkout at Robstown High School, Tex., while she was a student teacher there, in protest of the lack of Mexican American teachers and curriculum; joining Galeria de La Raza in San Francisco, 1976, while a graduate student at Washington State University and the effect it had on the development of her career as an artist; the inspiration of her mother, who painted "lotteria tablas" (figures on boards; game cards); her interest in children's art; using family experiences for her "monitos" or "little figures" (cards painted with sets of fifteen numbers); and preserving her Mexican-American traditions as a basis for her identity.
Biographical / Historical:
Carmen Lomas Garza (1948-) is a painter from California.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the interview received from a donation to AAA from the Los Angeles women's art organization Double X.
Restrictions:
Transcript available on the Archives of American Art website.
(invitation; catalogs; letters to Barraza from the Fra Angelico Art Foundation, 03/16/1994, and from Annie Kostiner of Gallery 312, 10/03/1994; Children's Art Workshop, Taller de Niños, information sheet; syllabi and course information for various courses at the School of the Art Institute of Chicago)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
This subseries documents the activities of FAP divisions through typescripts, an interview transcript, memoranda, printed material and copies of poster designs.
Art teaching typescripts include the following: Jacksonville Negro Art Gallery, Florida, Children's Art Gallery, Washington, D.C., Art and the Problem Child, Child Art Teaching, Saturday Morning Classes at the Kalamazoo Institute of Arts, Information Concerning District of Columbia Children's Drawings in Big Stone Gap Exhibition, The Artist Teaches, The Functions of Art Teaching in Education, The Works Program, and Child Art.
Records relating to murals include a biographical sketch of the architect William Lescaze; a typescript entitled Statistical Note on Murals; and a booklet entitled Historical Murals in the Los Angeles County Hall of Records Board of Supervisors' Hearing Room. Records relating to posters include a typescript entitled List of Visual Aid and Other Training Material Produced for Military Establishments by Missouri Graphics Phase Units, 28 copies of poster designs, and a photograph of men in a poster composition room.
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
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:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
Use of 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:
Albert Bloch papers, 1873-2014. Archives of American Art, Smithsonian Institution.
