Robinson, Franklin A., Jr., 1959- (actor) Search this
Container:
Box 39, Folder 11
Type:
Archival materials
Date:
1950
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
Sponsor:
Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress 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.
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
"Matilda Arabella Evans (1872-1935) Black Doctor gave hope, health to Columbians in Depression"
Collection Creator:
Evans, Matilda Arabella, Dr., 1872-1935 Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Text
Date:
1994
Collection Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Collection Rights:
The NMAAHC Archives can provide reproductions of some materials for research and educational use.
Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Collection Citation:
Dr. Matilda A. Evans Collection of archival material, National Museum of African American History and Culture
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Address by Hon. Frederick Douglass, Delivered in the Congregational Church, Washington,
D.C., on the Twenty-first Anniversary of Emancipation in the District of Columbia
Container:
Box 2, Folder 3
Type:
Archival materials
Date:
April 16, 1883
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Citation:
Collection of Frederick Douglass materials, Anacostia Community Museum Archives, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
An interview with Sue M. Thurman conducted 1993 April 23-1998 March 11, by Robert F. Brown for the Archives of American Art over 7 sessions, in Thurman's home, Brookline, Massachusetts.
Thurman discusses her childhood in Hopkinsville, Kentucky, a major tobacco center; her father's work in retail sales; her early schooling; and the impact on her of the Methodist church, attending Bethel Women's College, and World War II.
Study of studio art and art history at the University of Kentucky; the influence of teachers Ray Barnhart, Cliff Amyx, and Ted Rannells; founding an art deptartment at Wilmington College (a small Quaker college near Cinncinatti, Ohio); marriage to artist Harold Thurman; moving to NYC in 1951 to study art history at Columbia on an American Council of Learned Societies' scholarship; study of communal tribal arts, in particular the transfer of motifs from one medium to another in the Congo, under Paul Wingert, with consultation from Meyer Schapiro, and research in several anthropological collections in NYC; teaching of design at the Barnard School for Boys in the Bronx; returning to Kentucky to direct the Junior Art Gallery at the Louisville Free Public Library and developing it into a program which stressed display of original art and borrowing items from New York dealers; going to New Orleans in 1957 to direct the Isaac Delgado Museum of Art (now the New Orleans Museum of Art) at the urging of sculptor and museum trustee George Rickey, whom Thurman had met when he installed a sculpture in the Louisville library.
The near chaotic situation she faced at the Isaac Delgado Museum of Art due to its understaffing and the involvement of various factions - politicians, socialites and artists; help from George Rickey; enhancing the museum's local presence and stature through an exhibition, "Early Masters of Modern Art" (1959); getting the building renovated and obtaining a professional curator to assist her.
Leaving New Orleans, in 1961, after sucessfully competing for the directorship of the Institute of Contemporary Art, Boston (at the urging of former director Thomas Messer); finding the ICA to be in serious financial trouble; holding a Potlatch event, in which artists contributed work for purchase, which put ICA on stable financial footing and enabled it to move into new quarters in the shopping district; Thurman's cyclical exhibition program from 1963-1967 which featured contemporary artists, regional work, topical issues relating to design, and international shows. She recalls the response to the Edward Kienholz installations in 1966, and an Andy Warhol exhibition which was marred by vandalism by his entourage and led to ICA's eviction from its leased quarters.
Thurman continues her discussion of her tenure at ICA, including exhibitions focusing on themes and various media; its no-collecting policy; display of art from New England museums and from art collected by the federal government for embassies; her belief that art should be allowed to speak for itself through careful installations and absence of intrusive labels; and exhibitions of unconventional media and of contemporary design. She describes her work undertaken for the Ford Foundation, in 1969, to study the effectiveness of its financial support of art schools.
Thurman discusses the ICA's board of trustees, mentioning Charles Withers as someone she felt was an exemplary trustee and her views to exclude art collectors as trustees. She discusses her membership on MIT's Committee for the Arts; her appointment, as a result of her Ford Foundation work, as vice-president for development at the Cranbrook Academy of Art, for a 3-year term (1970-1973), and the difficulties there of imposing changes and raising funds.
Caring for her terminally-ill mother, 1973-1975; returning to Boston and beginning a new career as a general fund raiser; directing a quilt museum in Lowell, Massachusetts; and her beliefs that what sustained her through the years was altruism, acute powers of observation, and determination.
Biographical / Historical:
Sue M. Thurman (1927-2012) was an art administrator in Louisville, Kentucky, New Orleans, Louisiana, and Boston, Massachusetts. Thurman received a M.A. at Bethel Women's College, University of Kentucky, 1950 and in art and archeology from Columbia University in 1953. She taught at Wilmington College, Ohio, 1950-1951, and held directorships at the Junior Art Gallery, Louisville Free Public Library, Kentucky. (1954-1957), the Isaac Delgado Museum of Art, New Orleans, La. (1957-1961), the Institute of Contemporary Art, Boston (1961-1968) and the New England Quilt Museum (1991-1992). She was Vice-President for Development at Cranbrook Academy of Art (1970-1973) and has served as consultant and director to various development and fundraising initiatives.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 14 digital wav files. Duration is 7 hr., 57 min.
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.
Topic:
Arts administrators -- Massachusetts -- Interviews Search this
Museum directors -- Massachusetts -- Boston -- Interviews Search this
Genre/Form:
Sound recordings
Interviews
Sponsor:
Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.
Haskins, Sylvia Shaw Judson, 1897-1978 Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1911-1975
Summary:
The papers of sculptor Sylvia Shaw Judson measure 4.3 linear feet and date from 1911 to 1975. Found are biographical materials, correspondence, writings, professional activities files, personal business records, printed material, and photographs of works of art.
Scope and Contents:
The papers of sculptor Sylvia Shaw Judson measure 4.3 linear feet and date from 1911 to 1975. Found are biographical materials, correspondence, writings, professional activities files, personal business records, printed material, and photographs of works of art.
Biographical materials include resumes and scattered artwork by Judson and others. Correspondence is largely professional and is with artists, galleries, institutions, and museums around the Midwest and the rest of United States. Judson's writings include articles and lectures about art but also include literary writings from her high school years. Material relating to Judson's career as an educator, sculptor, and writer may include research notes, photographs, and business documents. Business records contain receipts and invoices for the production and for the sale of her works. Of note are lists which document the location of her sculptures. Printed materials document Judson's sculpture and art career, and include published books she wrote or illustrated. Photographs are of works of art.
Arrangement:
The collection is arranged as 7 series.
Series 1: Biographical Material, 1920-1960 (4 folders; Box 1)
Series 2: Correspondence, 1920-1975 (0.3 linear feet; Box 1)
Series 3: Writings and Notes, 1911-1963 (0.2 linear feet; Box 1)
Series 4: Professional Activities Files, 1933-1968 (0.6 linear feet; Boxes 1-2)
Series 5: Personal Business Records, 1923-1975 (0.4 linear feet; Box 2)
Series 6: Printed Material, 1913-1970s (0.9 linear feet; Boxes 2-3, OV6)
Series 7: Photographs, circa 1920s-circa 1970s (1.9 linear feet; Boxes 3-6, OV7-8, MGP1)
Biographical / Historical:
Sylvia Shaw Judson (1897-1978) was a sculptor and writer active in Chicago, Illinois. Her work Bird Girl received popular attention after her death.
Sylvia Shaw Judson, who went by Sylvia Haskins in her personal life, was the daughter of prominent architect Howard Van Doren Shaw and Frances Shaw. She studied with Albin Polasek at the Art Institute of Chicago and went to Paris in 1920 to continue her studies under Antoine Bourdelle at the Academy Grande Chaumiere.
Judson's sculpture often depicts children and animals. Notable works include Little Gardener which was included in Rachel "Bunny" Mellon's design for the White House Rose Garden, and Bird Girl in Bonaventure Cemetery in Savannah, Georgia.
As an adult, Judson joined the Society of Friends and became an active participant in the church. She died in 1978 in Lake Forest, Illinois.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels 4189-4190, including biographical material, family and personal correspondence primarily between Sylvia Judson and her parents and husband, travel journals, writings, sketchbooks and sketches, printed material, and photos of sculpture study. The material was returned to the lender after microfilming and some was subsequently donated to the Chicago Historical Society. Loaned materials are not described in the collection container inventory.
Provenance:
The Sylvia Shaw Judson papers were donated by her daughter, Alice Judson Ryerson in 1979. The material microfilmed on reels 1490-1495 was initially lent to the Archives for microfilming by the artist's daughter and subsequently given as a gift.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Sylvia Shaw Judson papers, 1911-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 26, Folder 6
Type:
Archival materials
Date:
2003 February 27-March 1
Scope and Contents:
Conference held Thursday, February 27, through Saturday, March 1, 2003, National Museum of American History, Behring Center, Smithsonian Institution. Program celebrated the twenty-second annual national observance of African American History Month. Program created as a conference, community tribute, and cultural fair, in collaboration with the National Underground Railroad Network to Freedom Program of the United States National Park Service. It included performances, films, presentations hands-on activities, lectures, and panel discussions.
Participants included:
Allison Blakely, Ph.D., professor of European and Comparative History, Boston University
David W. Blight, Ph.D., scholarly advisor to the Passages to Freedom conference; professor of history, Yale University
Charles L. Blockson, curator and historian
Spencer R. Crew, Ph.D., executive director and chief executive officer, National Underground Railroad Freedom Center
Mary A. Edmond, chairperson of the Michigan Freedom Trail Commission; founder and president, Michigan Black History Network
Jerry Gore, historian, scholar and one of the founders of the National Underground Railroad Museum, Incorporated
Allen Grundy, founder, International Freedom Institute of the Southwest (IFIS); cofounder of Talking Back Living History Theatre (TBLH)
James Oliver Horton, Ph.D., scholarly advisor to the Passages to Freedom conference; Benjamin Banneker Professor of African Studies and History, George Washington University
Lois E. Horton, Ph.D., professor of history, George Mason University
Wilma King, Ph.D., Strickland Professor of American History and Culture, University of Missouri
Jane Landers, Ph.D., associate dean of the College of Arts and Science; associate professor of history and director, Center of Latin American and Iberian Studies, Vanderbilt University
Emma J. Lapsansky, Ph.D., curator, Quaker Collection and professor of history, Haverford College
Diane Miller, planning committee member, Passages to Freedom conference; and national coordinator, National Underground Railroad Network to Freedom Program,
National Park Service (NPS)
Orloff Miller, Ph.D., planning committee member, Passages to Freedom conference; director, Freedom Station Program; and interim director, Research Programs, National Underground Railroad Freedom Center, Cincinnati, Ohio
Kevin Mulroy, Ph.D., director of research collections and chair, Research Services, University of Southern California libraries
Cathy D. Nelson, founder and president emeritus, Friends of Freedom Society; and state coordinator, Ohio Underground Association
Freddie L. Parker, Ph.D., chair, Department of History, North Carolina Central University, Durham, North Carolina
Bryan Prince, Buxton National Historic Site and Museum, Ontario, Canada
Vivian Abdur-Rahim, founder and director, Harriet Tubman Historical Society; and founding member, Underground Railroad Coalition, Delaware
Bernice Johnson Reagon, Ph.D., scholar, composer, singer, and activist, Cosby Chair Professor of Fine Arts, Spelman College, Atlanta, Georgia
Jane Rhodes, Ph.D., associate professor, ethnic studies, University of California, San Diego
Hilary Russell, independent scholar and researcher
Milton C. Sernett, Ph.D., professor of African American Studies and history and adjunct professor of religion, Syracuse University
Barbara A. Tagger, historian and regional coordinator, National Underground Railroad Network to Freedom Program
Ron Tyler, Ph.D., is director of the Texas State Historical Society and professor of history at the University of Texas at Austin
John Michael Vlach, Ph.D., professor of American studies and anthropology and director of the Folklife Program, George Washington University
Judith Wellman, Ph.D., professor emerita, History Department, State University of New York, Oswego
Deborah Gray White, Ph.D., professor and chair, history department, Rutgers University
Carol Wilson, Ph.D., associate professor of history, Washington College, Chestertown, Maryland
Church Historians
Ambassador Horace G. Dawson Jr., Ph.D., historian, Metropolitan AME Church, Washington, DC
Janet Lee Ricks, member and vice chair, history committee, Mt. Zion United Methodist Church, Georgetown, Washington, DC
Lonise Fisher Robinson, church historian, Asbury United Methodist, Washington, DC
Performers and Artists included:
Nasar Abadey Trio
Drums - Nasar Abadey, drummer and composer, founder and leader of SUPERNOVA
Piano - Allyn Johnson, Washington, DC native, attended the University of the District of Columbia
Bass - James King, bassist, composer, and arranger
Michael E. Baytop, founder and president, Archie Edwards Blues Heritage Foundation, Washington, DC
Gwendolyn Briley – Strand
The Chancel Choir of Sargent Memorial Presbyterian Church
The Daughters of Dorcas and Sons
The Duke Ellington School of the Arts Show Choir
Samuel L. E. Bonds, director and voice teacher, Duke Ellington School of the Arts, Washington, DC
Irma Gardner-Hammond, professional storyteller who tells stories from the African oral tradition known as the Griot tradition
Bus Howard, actor and artist in residence, Kennedy Center for the Performing Arts, Washington, DC
In Process…, African American women's a cappella ensemble
Jo Ann James, avid collector of recipes, a student of African American history, and a craftsperson
Kimberly Kelly, member of planning committee for the Passages of Freedom conference
Magpie - Terry Leonino and Greg Artzner, musicians
Alice McGill, well known for her portrayal of Sojourner Truth
Gretchen McKinney, term member, Speech Choir and Drama Team, Asbury United Methodist Church
Dietra Montague, independent artist who has lived and studied the arts and crafts of North and West Africa, Central and South America, Mexico, and Europe
Fred Morsell, actor
Ayo Ngozi, collage, multimedia, and book artist based in Mt. Rainier, Maryland
Reverb, a cappella group of African American gospel, quartet, and doo-wop singing
Mary Kay Ricks, freelance writer, researcher, and history tour guide who specializes in the Underground Railroad, Washington, DC
Kath Robinson, Washington, DC resident interested in the study of Ethnobotany and the study of misaims
Charlie Sayles, blues harmonica player
Program number AC408.120.
Collection Restrictions:
Collection is open for research. Use of reference audio and video cassette copies only.
Collection Rights:
Reproduction fees for commercial use. Copyright restrictions. Contact staff for information.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
