Search Results

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2014-05-30T20:24:07.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_-sHTpGfPe1c

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2017-02-27T13:08:29.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt__h1Ula-02mg

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2018-03-30T22:55:59.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_y7-rK9i89dA

Interviewee:

Gamboa, Harry  Search this

Gronk, 1954-  Search this

Interviewer:

Rangel, Jeffrey J.  Search this

Names:

Asco (Group of artists)  Search this

Extent:

5 Sound cassettes (Sound recording (270 min.), analog)

90 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1999 Apr. 1-16

Scope and Contents:

An interview of Harry Gamboa, Jr. conducted 1999 Apr. 1-16, at various cafes in Los Angeles, Calif., by Jeffrey Rangel, for the Archives of American Art. The artist, Gronk, joined the interview for the second session.

Photographer, painter, video artist, and writer, Harry Gamboa, Jr. (b. 1951), has been involved in creating visual and performance works that interpret the contemporary urban Chicano culture. A native of Los Angeles, Gamboa began the interview by reflecting on his book Urban Exile (University of Minnesota Press, 1998), which he considers only a fragment of his creative work, feeling photography his primary medium. He expressed a need to maintain his identity as a Chicano artist while at the same time trying to balance financial survival, family maintenance, and creative spontaneity. He described growing up in East Los Angeles, a period that tested his personality and developed his quick wit and humor as a means of survival and his sense of being the "participant viewer." He remembers his educational experiences as "highly damaging," due to the physical violence from a few teachers and the stereotyping of Chicanos. His views about the Vietnam War and his disillusionment of the political process which led to a discussion about the Civil Rights Movement and the African-American culture's influence on his work. He emphasized the lack of an awareness by the art community of black and Chicano artists that was underscored in the Armand Hammer Museum's LA and Noir [Sunshine and Noir: Los Angeles Art, 1960-1990, at the UCLA/Armand Hammer Art Center] exhibition, 1998.

The second session began and ended with Gamboa reflecting on his relationship with his wife and fellow artist, Barbara Carrasco. In the interim, he and Gronk, who joined the interview, discussed the dynamics that brought the artists together in Asco; the differences and competitiveness within the Chicano Arts Movement; and the vulnerabilities of an artist's surviving while trying to maintain an artistic vision. Despite these challenges and an opressive dominant culture that has not embrased Chicano art, Carrasco have continued as artists because they feel a need to create and to present their work as a means of expanding a perception of reality.

Biographical / Historical:

Harry Gamboa, Jr. (1951-) is a painter, writer, photographer, and video artist from Los Angeles, Calif.

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 and transcription provided by the Smithsonian Institution Latino Initiatives Fund.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Photography  Search this

Hispanic American artists  Search this

Mexican American artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.gamboa99

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gamboa99

Interviewee:

Carrasco, Barbara, 1955-  Search this

Interviewer:

Rangel, Jeffrey J.  Search this

Names:

Asco (Group of artists)  Search this

University of California, Los Angeles -- Faculty  Search this

University of California, Los Angeles -- Students  Search this

University of California, San Francisco. School of Fine Arts -- Students  Search this

Almaraz, Carlos  Search this

Chavez, Cesar, 1927-  Search this

Gamboa, Harry  Search this

Garza, Carmen Lomas  Search this

Valadez, John, 1951-  Search this

Extent:

87 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1999 April 13-26

Scope and Contents:

An interview of Barbara Carrasco conducted 1999 April 13 and 26, by Jeffrey Rangel, in two sessions, for the Archives of American Art.

Carrasco speaks of the roles played by her parents in her career as an artist, her experiences as a light-skinned Chicana, and the marginalization of women artists within the Chicano art movement; her relationship and marriage to fellow artist, Harry Gamboa, Jr., who has supported women artists; and her perception of Asco ("nausea" in Spanish), a group of artists and performers who joined together during the Chicano civil rights movement. She also discusses the influence of the art professors at UCLA and the quality of the training she received there; working with Carlos Almaraz and John Valadez on the "Zoot Suit" mural in Hollywood; meeting César Chávez and how he in part shaped her identity as a cultural worker; attending California School of Fine Arts, Valencia, California, and receiving her MFA there; other Chicana artists such as Carmen Lomas Garza; and the changes in her most recent work.

Biographical / Historical:

Barbara Carrasco (1955-) is a painter and muralist from Los Angeles, California. Carrasco was born in El Paso, Texas, and a resident of the Los Angeles area since 1956. She is best known for her work inspired by the United Farm Workers Union, by her experiences as a Chicana, by historical events, and by personal issues.

General:

Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 41 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. Funding for the interview and transcription provided by the Smithsonian Institution Latino Initiatives Fund.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Hispanic American artists  Search this

Mexican American artists  Search this

Hispanic American women artists -- Interviews  Search this

Women artists -- California -- Los Angeles -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.carras99

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-carras99

Collector:

Maltsby, Portia  Search this

Creator:

Smithsonian Institution. Program in African American Culture  Search this

Extent:

100 Cubic feet (309 boxes)

Type:

Collection descriptions

Archival materials

Audiocassettes

Audiotapes

Videotapes

Photographs

Date:

1850-2004, undated

Summary:

The collection primarily documents the activities of the National Museum of American History's Program in African American Culture (PAAC) dating from 1979 through 2004. The Program in African American Culture (PAAC) created public programs documenting the black experience in the United States, as well as, other countries. Archival materials include photographs, programs, administrative files, magnetic tape, audiocassettes, U-matic and VHS video cassettes.

Scope and Contents:

The collection consists primarily of administrative files, audio, video, and photographic documentation of the programs presented by the Program in African American Culture (PAAC) from 1979 through 2004. There is a substantial amount of material documenting research conducted by the Program in African American Culture (PAAC) for its programming. In addition, administrative paperwork relating to the day-to-day activities of the Program in African American Culture (PAAC) are also included in the materials.

The collection is divided into four series. Series one consists of the material created for each program and is arranged in chronological order. Series two contains background materials and publications relating to subjects of program interest and is arranged in alphabetical order. Series three includes correspondence, contracts, resumes of presenters and performers and other forms of administrative files. Series four are materials relating to Smithsonian Institution or outside programs and performances.

Arrangement:

The collection is arranged into four series.

Series 1, Programs Files, 1979-2004, undated

Series 2, Research Files, 1850-1995, undated

Series 3, Administrative Files, 1850-1995, undated

Series 4, Interviews, Speaking Engagements and Performances, 1964-2000, undated

Biographical / Historical:

The Program in African American Culture (PAAC) is a Smithsonian Institution research and programming office located in the National Museum of American History that was created as an outgrowth of the African Diaspora component of the 1975 and 1976 Festival of American Folklife. Founding director, Bernice Johnson Reagon, developed the Program in Black Culture, as the PAAC was originally, as a center for researching and presenting topics of interest to the study of African American history and culture. Reagon is a song leader, composer, scholar, and social activist, who was a founding member of the Student Nonviolent Coordinating Committee (SNCC) Freedom Singers in the Albany Movement in Georgia. The Program, which was transferred to the National Museum of American History in 1983, provided, and continues to provide, a forum for the presentation of traditional and historical forms of African American cultural expression. To accomplish this, Program in African American Culture (PAAC) staff conducted thorough research, which resulted in public programs including conferences, concerts, colloquia, and seminars on a wide range of topics.

Related Materials:

Archives Center, National Museum of American History

Duke Ellington Collection (NMAH.AC0301)

Ruth Ellington Collection of Duke Ellington Materials (NMAH.AC0415)

Eugene D. Smallwood Gospel Music Collection (NMAH.AC0456)

Wade in the Water Radio Series Collection (NMAH.AC0516)

Moses Moon Civil Rights Movement Audio Collection (NMAH.AC0556)

Bernice Reagon Johnson Collection of African American Sacred Music (NMAH.AC0653)

Edward and Gaye Collection of Duke Ellington Materials (NMAH.AC0704)

Ruth Koenig Mississippi Summer Collection (NMAH.AC0558)

Ed King Collection of Civil Rights Material (NMAH.AC0559)

Smithsonian Institution

Ralph Rinzler Folklife Archives and Collections

Smithsonian Folklife Festival records: 1969 Festival of American Folklife (CFCH.SFF.1969)

Smithsonian Institution Center for Folklife and Cultural Heritage, June 25-July 6, 1997 (CFCH.SFF.1997)

Diana Davies Photographs (CFCH.DAVIE)

Smithsonian Institution Archivesemph>

Oral History Interview with Bernice Reagon Johnson, 1986 (Accession 009612)

National Museum of American History, Program in African American Culture, 1982-2002 (Accession 05-116)

National Museum of American History, Program in African American Culture, 1983-2004 (Accession 06-002)

National Museum of American History, Program in African American Culture, 1972-1999 (Accession 08-107)

National Museum of American History, Program in African American Culture, 1975-2000 (Accession 12-102)

National Museum of American History, Program in African American Culture, 1976-1999 (Accession 12-358)

National Museum of American History, Program in African American Culture, 1980-1992, 1961 (Accession 96-147)

Duke Ellington Collection Records, circa 1985-1993 (Accession 98-129)

National Museum of American History, Program in Black American Culture, circa 1976-1987 (Accession 98-136)

Smithsonian Institution. Division of Performing Arts (Accession 84-012)

Provenance:

Collection created by the Program in African Amerian Culture at the Smithsonian Institution from 1979-1986.

Restrictions:

Collection is open for research. Use of reference audio and video cassette copies only.

Rights:

Reproduction fees for commercial use. Copyright restrictions. Contact staff for information.

Topic:

Civil rights  Search this

African American history  Search this

African American religion  Search this

Gospel music  Search this

African Americans -- Music  Search this

Civil rights movements  Search this

Jazz  Search this

Genre/Form:

Audiocassettes

Audiotapes

Videotapes

Photographs -- 1980-2000

Citation:

Program in African American Culture Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0408

See more items in:

Program in African American Culture Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0408

Interviewee:

Carrasco, Barbara, 1955-  Search this

Interviewer:

Rangel, Jeffrey J.  Search this

Subject:

Almaraz, Carlos  Search this

Chavez, Cesar  Search this

Gamboa, Harry  Search this

Garza, Carmen Lomas  Search this

Valadez, John  Search this

University of California, Los Angeles  Search this

University of California, San Francisco. School of Fine Arts  Search this

Asco (Group of artists)  Search this

Type:

Sound recordings

Interviews

Topic:

Hispanic American artists  Search this

Mexican American artists  Search this

Hispanic American women artists -- Interviews  Search this

Women artists -- California -- Los Angeles -- Interviews  Search this

Record number:

(DSI-AAA_CollID)5447

(DSI-AAA_SIRISBib)216606

AAA_collcode_carras99

Theme:

Latino and Latin American

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216606

Interviewee:

Gamboa, Harry, 1951-  Search this

Interviewer:

Rangel, Jeffrey J.  Search this

Subject:

Asco (Group of artists)  Search this

Type:

Sound recordings

Interviews

Topic:

Photography  Search this

Hispanic American artists  Search this

Mexican American artists  Search this

Record number:

(DSI-AAA_CollID)13552

(DSI-AAA_SIRISBib)216608

AAA_collcode_gamboa99

Theme:

Latino and Latin American

Photography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216608

Creator:

Smithsonian Institution. Festival of American Folklife. Evolution of American Folk Music Program 1974 Washington, D.C.  Search this

Turner, Othar  Search this

Sapp, Jane  Search this

Rising Star Fife and Drum Band  Search this

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Extent:

1 Sound recording

1 Sound recording (sound-tape reel, analog, 7 in.)

Type:

Archival materials

Sound recordings

Place:

United States

Washington (D.C.)

Mississippi

Senatobia (Miss.)

Date:

1974 July 9

Contents:

Rising Star Fife and Drum---Shimmy she wobble (cont.)--Baby, please don't go; Jane Sapp- This little light of mine--Swing down chariot--Take a look at my people--I woke up this morning with my mind on freedom; Shimmy she wobble

General note:

DPA number 74.701.03

Local Numbers:

FP-1974-7RR-0397

General:

74.701.03

CDR copy

Date/Time and Place of an Event Note:

Recorded in: Washington (D.C.), United States, July 9, 1974.

Restrictions:

Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.

Collection Rights:

Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.

Topic:

Fife and drum corps music  Search this

Civil rights movements -- United States -- Songs and music  Search this

Civil rights -- United States -- Songs and music  Search this

Collection Citation:

Smithsonian Folklife Festival records: 1974 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1974, Item FP-1974-7RR-0397

See more items in:

Smithsonian Folklife Festival records: 1974 Festival of American Folklife

Smithsonian Folklife Festival records: 1974 Festival of American Folklife / Series 5: Festival Stage / 5.3: Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

EDAN-URL:

ead_component:sova-cfch-sff-1974-ref3701

Interviewee:

McBride, William, 1912-2000  Search this

Interviewer:

Adams, Carol  Search this

Creator:

South Side Community Art Center  Search this

African-American Artists in Chicago Oral History Project  Search this

Names:

African-American Artists in Chicago Oral History Project  Search this

South Side Community Art Center  Search this

African-American Artists in Chicago Oral History Project  Search this

Extent:

149 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1988 Oct. 30-31

Scope and Contents:

An interview of William McBride conducted 1988 Oct. 30-31, by Carol Adams, for the Archives of American Art African-American artists in Chicago oral history project (1988-1989).

McBride speaks of his early interest in art, the importance of George Neal to the education of young Chicago artists, and the camaraderie among Black artists in Chicago in the 1930s. He discusses working for the WPA Federal Art Project and saving WPA works from destruction. Carter reminisces about the formation of the South Side Community Art Center as a place where Black artists could exhibit, the Black Renaissance in Chicago in the 1930s, and post-WPA survival. He recalls working for Goldblatt's department store, the impact of the civil rights movement on Black art, and the influence of African art.

Biographical / Historical:

William McBride (1912-2000) was a painter in Chicago, Ill.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 3 hrs., 10 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 others.

Occupation:

Painters -- Illinois -- Chicago  Search this

Topic:

African American art -- African influences  Search this

African American artists  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.

Identifier:

AAA.mcbrid88

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-mcbrid88

Interviewee:

Ben Tré, Howard, 1949-2020  Search this

Interviewer:

Shea, Josephine, 1958-  Search this

Creator:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Names:

Appalachian Center for Craft  Search this

Brooklyn College -- Students  Search this

Brooklyn Technical High School (Brooklyn, New York, N.Y.)  Search this

Cristallerie Daum  Search this

Hadler/Rodriguez Gallery  Search this

Haystack Mountain School of Crafts -- Faculty  Search this

Missouri Valley College -- Students  Search this

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Pilchuck School  Search this

Portland State University -- Students  Search this

Rhode Island School of Design -- Students  Search this

Venceremos Brigade  Search this

Aycock, Alice  Search this

Brychtová, Jaroslava, 1924-  Search this

Chihuly, Dale, 1941-  Search this

Dailey, Dan, 1947-  Search this

Hampson, Ferdinand  Search this

LaMonte, Karen, 1967-  Search this

Labino, Dominick  Search this

Libenský, Stanislav, 1921-2002  Search this

Littleton, Harvey K.  Search this

Onorato, Ronald J.  Search this

Parker, Anthony  Search this

Polander, Steve  Search this

Scanga, Italo, 1932-2001  Search this

Extent:

63 Pages (Transcript)

3 Sound discs (Sound recording (4 hr., 3 min.), digital, 2 5/8 in.)

Type:

Collection descriptions

Archival materials

Pages

Sound discs

Interviews

Sound recordings

Place:

Cuba -- Description and Travel

Europe -- description and travel

Date:

2007 July 7

Scope and Contents:

An interview of Howard Ben Tré conducted 2007 July 7, by Josephine Shea, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's studio, in Pawtucket, Rhode Island.

Ben Tré speaks of his childhood in Rockaway Park, New York; his Polish immigrant father who was a woodworker and artist; inheriting a particular aesthetic and sense of hard work from his father; attending Brooklyn Technical High School to play football but not graduating; moving to Marshall, Missouri to attend Missouri Valley College for one year; attending Brooklyn College; becoming involved in Students for a Democratic Society, the antiwar movement and civil rights movement of the 1960s; traveling to Cuba as part of the first Venceremos Brigade to cut sugarcane in 1969; meeting his first wife, Gay, in Cuba and returning to New York with her; organizing a food co-op and community events in Brooklyn; moving to Portland, Oregon; working in construction for the city before going back to school to study veterinarian medicine at Portland State University; discovering the glass studio in a garage at Portland State; meeting Dale Chihuly and working at Pilchuck Glass School; utilizing the foundry skills learned from Brooklyn Technical High to work with glass in casting and cope and drag methods; his series Burial Boxes and the influence of ancient architecture and ceremonial Chinese bronzes; the rise of the studio glass movement as symptomatic of socio-political-economic times, not just the pioneering efforts of Harvey Littleton and Dominic Labino; traveling throughout Europe with Gay; visiting Stanislav Libenský and Jaraslava Brychtová in Czechoslovakia; visiting Dan Dailey at Cristallerie Daum in France; attending Rhode Island School of Design [RISD]; his first show at Hadler/Rodriguez Gallery in 1980; teaching experiences at Haystack Mountain School of Craft and Appalachian Center for Craft; building and installing an oven at Blenko Glass in Milton, West Virginia and at Super Glass in Brooklyn; working with Mold Melted Glass Studio in Pelechov, Czech Republic; the history of glass and early glass-working techniques; his many commissions, including sited public projects such as Post Office Square in Boston; the adoption of his name, Ben Tré; return visits to Cuba; working with RISD to create a winter study session in Havana; and his view of artists as artists, not defined by medium. Ben Tré also recalls Anthony Parker, Italo Scanga, Ron Onorato, Alice Aycock, Ferdinand Hampson, Steven Polander, Karen LaMonte, among others.

Biographical / Historical:

Howard Ben Tré (1949- 2020) was a glass artist from Pawtucket, Rhode Island. Josephine Shea is a curator from Grosse Pointe Park, Michigan.

General:

Originally recorded 3 sound discs. Reformatted in 2010 as 5 digital wav files. Duration is 4 hr., 3 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.

Occupation:

Glass artists  Search this

Topic:

Art commissions  Search this

Civil rights -- United States  Search this

Decorative arts  Search this

Glass art -- Technique  Search this

Peace movements  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

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.

Identifier:

AAA.bentre07

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-bentre07

Collector:

Archives Center, NMAH, SI.  Search this

Donor:

Gay Officers Action League. GOAL  Search this

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

American Federation of Teachers  Search this

Department of Defense, Comprehensive Review Working Group  Search this

Gay Officers Action League. GOAL  Search this

Gay, Lesbian, Bisexual and Transgender Community Center of Baltimore and Central Maryland  Search this

ONE National Gay and Lesbian Archives  Search this

San Diego LGBT Pride  Search this

Servicemembers Legal Defense Network  Search this

Smith College  Search this

University of Connecticut  Search this

William Way Community Center  Search this

Biren, Joan E.  Search this

Bushnell, Megan  Search this

Davidson, James, Dr.  Search this

Dietrich, Joe  Search this

Exline, Gregory  Search this

Florence, Laura  Search this

Huebner, David  Search this

Jain, Shawn  Search this

Karazsia, Amy  Search this

Karazsia, William G.  Search this

Lombardi, Angela  Search this

Lynch, Patsy  Search this

Meinke, Mark  Search this

Nitz, Ryan  Search this

Reichard, Bradley  Search this

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Ros, Silvia  Search this

Sabatino, Michael  Search this

Shannon, Michael A.  Search this

Sheets, Justin  Search this

Snodgrass, Adam  Search this

Voorheis, Robert  Search this

Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Other:

Larson, Gordon P., 1910-1988 -- 20th century  Search this

Names:

McWaine, Dwayne, Dr.  Search this

Extent:

60 Cubic feet (182 boxes, 20 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Postcards

Photographs

Posters

Videocassettes

Advertising

Dvds

Songbooks

Periodicals

Place:

Canada -- Description and Travel

Germany -- description and travel

Amsterdam (Netherlands)

Washington, D.C. -- history

Los Angeles (Calif.)

New York, New York

Date:

1825-2021, undated

bulk 1960-2019

Summary:

This collection contains a variety of periodicals, photographs, correspondence, business and advertising ephemera (corporate and non-profit, personal), organizational records and ephemera, created by, for, and in reaction to the Lesbian, Gay, Bisexual, Transgender (LGBT) community.

Scope and Contents:

The Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection contains periodicals, ephemera, posters, postcards, advertisements, photographs, organizational records, publications, correspondence, and other materials related to all aspects of the LGBT community and the civil rights issues pertaining thereto. The collection was created by the Archives Center to bring together materials specifically pertaining to the LGBT community. This collection contains material from communities and individuals throughout the United States. The collection is currently strongest in periodicals, newspapers and ephemera and very strong in material from California and New York. The collection continues to add new items and the researcher would be wise to take a broad view in targeting their research topics in the collection.

Arrangement:

The collection is divided into twenty-four series.

Series 1: Periodicals, 1937-2018

Series 2: Agencies, Associations, and Organizations, 1984-2018, undated

Series 3: Community Life and Subject Files, 1825-2018, undated

Subseries 3.1: Photographs and Slides, 1870-1980, undated

Subseries 3.2: Ephemera and Buttons, 1969-2018, undated

Subseries 3.3: Posters and Prints, 1825-2018, undated

Subseries 3.4: Subject Files, 1958-2018, undated

Subseries 3.5: Pride, 1976-2018, undated

Subseries 3.6: HIV and AIDS, 1987-2017, undated

Series 4: Advertising, Business, and Publications, 1970-2018, undated

Subseries 4.1: Advertising, 1970-2018, undated

Subseries 4.2: Business, 1998-2017, undated

Subseries 4.3: Television, Theater, and Motion Pictures, 1978-2018, undated

Subseries 4.4: Bar ephemera and advertisement, 1979-2018, undated

Subseries 4.5: Publications, 1976-2018, undated

Series 5: Biren, Joan E. (JEB), 195-2018, undated

Subseries 5.1: Xerographic Copies of Photoprints, 1971-1995, undated.

Subseries 5.2: Posters and Oversize Advertisement, 1973-2018, undated

Series 6: Dietrich, Joseph A., 1992-2010

Series 7: Mattachine Society Records, 1942-1996, undated

Subseries 7.1: Correspondence, 1952-1991, undated

Subseries 7.2: Board of Directors Minutes, 1954-1974, undated

Subseries 7.3: Organizational Information, 1942-1993, undated

Subseries 7.4: Councils, Chapters, and Committees, 1953-1965, undated

Subseries 7.5: Conventions, 1953-1960, undated

Subseries 7.6: Publications, 1944-1996, undated

Series 8: Rainbow History Community Pioneers, 2003-2012, undated

Series 9: Strub, Sean O., addendum, 1987-2011, undated

Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB, 1990-2014, undated

Series 11: Ros, Silvia, 2009-2011

Series 12: Huebner, David, 2009-2014

Series 13: St. George, Philip, 1945-1955, undated

Series 14: Will & Grace, 1995-2006

Series 15: Barna, Joseph T. and Heritage of Pride (HOP), New York, New York, 1910-2014, undated

Subseries 15.1: Photographs, Photographic Negatives, and Slides, 1985-2010, undated

Subseries 15.2: Heritage of Pride (HOP), 1984-2014, undated

Subseries 15.3: Barna, Joseph T., 1910-2013, undated,

Series 16: Becker, John M., 1999-2014, undated

Series 17: Rohrbaugh, Richard, 1972-1986, undated

Series 18: Guest, Michael E., 2001-2009

Series 19: The Fosters, 2013

Series 20: Pride at Work, 1990-2015

Series 21: Sabatino, Michael and Voorheis, Robert, 1980-2016, undated

Subseries 21.1: Archilla, Gustavo A. and Lokkins, Elmer T., 1916-2014, undated

Series 22: Gay Officers Action League (GOAL), 1982-2016, undated

Series 23: Brown, Adele "Del" and Herizon's Bar, 1985-1991, undated

Subseries 1: Changing Herizons, and Herizons Newsletter, 1983-1991

Series 24: Universal Felloship Metropolitan Community Churches (UFMCC), 1957-2019, undated

Historical Note:

While the quest for equal rights has been pursued by generations, it is generally acknowledged that the modern day Lesbian, Gay, Bisexual, and Transgender (LGBT) civil rights movement began in New York City in June 1969 with the Stonewall Riots. Prior to this time a number of activists, individuals, and organizations such as The Mattachine Society, Daughters of Bilitis and others, fought to bring recognition of LGBT civil rights to the forefront of American society. While the movement was primarily, and most visually, centered in New York City and San Francisco, periodicals, guide books, and ephemeral material interconnected the larger LGBT community throughout the United States. The increased visibility of the LGBT movement inspired groups at odds with that new found visibility and call to action. The challenge to what was termed "traditional" values encouraged counter-LGBT groups to define and solidfy their constituency as well. This collection comprises material that is generated by individuals and organizations that have been on both sides of the question.

Related Materials:

Materials in the Archives Center

Michio and Aveline Kushi Macro-Biotics Collection (AC0619)

The Shamrock Bar: Photographs and Interviews (AC0857)

John-Manuel Andriote Victory Deferred Collection (AC1128)

Archives Center Wedding Documentation Collection (AC1131 )

Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)

John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)

Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)

World AIDS Institute (WAI) Collection (AC1266)

Servicemembers Legal Defense Network (SLDN) Records (AC1282)

Helping Persons with AIDS (HPA) Records (AC1283)

DC Cowboys Dance Company Records (AC1312)

Bil Browning and Jerame Davis Papers (AC1334)

David Hadley Rockwell New York Disco Ephemera Collection (AC1342)

Leonard P. Hirsch Federal Globe Records (AC1357)

Corbett Reynolds Papers (AC1390)

Mark Segal Papers (AC1422)

The Mattachine Society of Washington "Love in Action" Collection (AC1428)

Academy of Washington Records (AC1458)

Matthew Shepard Papers (AC1463)

The Division of Political History holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).

The Division of Medical and Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard Hirsch.

The Division of Entertainment and the Arts holds objects donated by The Fosters and Will & Grace.

Provenance:

This collection was assembled by the Archives Center, National Museum of American History, Smithsonian, beginning in 2004.

Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Women's music  Search this

Transgender people -- Identity  Search this

Sexual orientation  Search this

Political activists  Search this

Lesbianism  Search this

Lesbian and gay experience  Search this

Gay activists  Search this

Homosexuality  Search this

HIV and AIDS  Search this

Feminism  Search this

Bisexuality  Search this

Bars (Drinking establishments)  Search this

Gay Pride  Search this

Genre/Form:

Passports

Postcards

Photographs -- 2000-2010

Posters

Videocassettes

Advertising

DVDs

Photographs -- 20th century

Songbooks

Periodicals

Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.1146

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-1146

Creator:

Atlanta Interfaith Broadcasters  Search this

Names:

Atlanta Interfaith Broadcasters Oral History Collection  Search this

Sixteenth Street Baptist Church (Birmingham, Ala.)  Search this

King, Martin Luther, Jr., 1929-1968  Search this

Extent:

159 Video recordings (U-matic 3/4" video recordings)

1 Video recording (VHS 1/2" video recording)

15 Linear feet (15 boxes)

Type:

Collection descriptions

Archival materials

Video recordings

Videocassettes

Place:

United States -- Race relations

United States -- Rural conditions

Date:

1989-1994

Scope and Contents note:

The collection, which dates from 1989 to 1994 and measures 15 linear feet, documents the reminiscences of elderly members of various African-American churches in the Atlanta area, as well as individual church histories, outstanding personalities of the South, religious expression in the South, and styles of singing and worship. The collection is comprised of audiovisual materials.

Biographical/Historical note:

Atlanta Interfaith Broadcasters, Inc. is the nation's largest regional interfaith cable network. AIB has been providing faith-based communities and nonprofit service organizations access to a larger audience since 1969. AIB remains a destination for international dignitaries and media representatives due to its unique programming platform, which promotes dialogue between all faiths, cultures and socioeconomic backgrounds. Seen in over 1,000,000 homes across 19 metro area counties, AIB is a self-supporting organization and does not allow the solicitation of funds or attacks on other faiths. Viewers can find Christians, Jews, Muslims, Buddhists, Hindus and others presenting their views.

Provenance:

Atlanta Interfaith Broadcasters Oral History Collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Atlanta Interfaith Broadcasters.

Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Topic:

Negro leagues  Search this

Spirituals (Songs)  Search this

Women clergy  Search this

World War, 1939-1945 -- African Americans  Search this

Choirs (Music)  Search this

Civil rights movements -- United States  Search this

African American clergy  Search this

African American churches  Search this

African American journalists  Search this

African American educators  Search this

African American poets  Search this

African American lawyers  Search this

African American soldiers  Search this

African American social reformers  Search this

African Americans -- Religious life  Search this

African Americans -- Music  Search this

African Americans -- Social life and customs  Search this

African Americans -- Social conditions  Search this

Genre/Form:

Video recordings

Videocassettes

Citation:

Atlanta Interfaith Broadcasters oral history collection exhibition records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.09-001

See more items in:

Atlanta Interfaith Broadcasters Oral History Collection

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_collection:sova-acma-09-001

Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Names:

Mexican Museum  Search this

Royal Chicano Air Force  Search this

Studio 24 (San Francisco, Calif.)  Search this

Garza, Carmen Lomas  Search this

Goldman, Shifra M., 1926-2011  Search this

Mesa-Bains, Amalia  Search this

Extent:

33.1 Linear feet

1.27 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Slides (photographs)

Interviews

Place:

Mexico -- Religious life and customs

Date:

1965-2004

Summary:

The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.

Scope and Content Note:

The research material of Tomás Ybarra-Frausto, amassed throughout his long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States. As community leader and scholar, Ybarra-Frausto played dual roles of active participant and historian in the Chicano movement, chronicling this unique political and artistic movement from its inception in the 1960s to the present day.

Deeply rooted in American history, "El Movimiento," the Chicano movement, evolved from Mexican-Americans' struggle for self-determination during the civil rights era of the 1960s. It began as a grassroots community effort that enlisted the arts in the creation of a united political and cultural constituency. Chicano artists, intellectuals, and political activists were instrumental in mobilizing the Mexican-American community for the cause of social justice, and the movement was shaped by the affirmation of a cultural identity that embraced a shared heritage with Mexico and the United States.

Just as "El Movimiento" aimed to instruct and inspire through the recollection and conservation of culture, Ybarra-Frausto's own career as scholar and historian helped to shape the intellectual discourse of the Chicano art. As a leading historian and theoretician in the field of Chicano Studies, he has written extensively on the subject, and has been instrumental in defining the canons of Chicano art. His papers are accordingly rich and varied, and they will be of great use to future scholars.

His research material, dating from 1965 to 1996, are arranged in subject files containing original writings, notes, bibliographies compiled by Ybarra-Frausto and others, exhibition catalogues, announcements, newspaper clippings and other printed material, as well as slides and photographs. Many of these files also include interview transcripts and correspondence with prominent figures in the movement. While this research collection contextualizes Chicano art within the larger framework of Latino and Latin-American culture, the bulk of the files relates specifically to Chicano visual culture. The collection also contains pertinent documentation of the Chicano civil rights movement, material on Chicano poets and writers, and research files on the wider Hispanic community, but these also appear within the context of Chicano culture in general.

Prominent among the bibliographies are the many notes and drafts related to the publication of A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981 (University of California, Berkeley, 1985), which Ybarra-Frausto co-authored with Shifra Goldman. Ybarra-Frausto's files on Goldman, like other files in the collection, document his close associations and collaborations with scholars.

Art historians have traditionally found the categorization of Chicano art a difficult task. Unsure whether to classify the work as "American" or "Latin American," critics often ignored the work altogether. An outgrowth of this dilemma was the proliferation of artists, curators, and critics within the Chicano community, and the papers contain many original writings by Chicano artists about Chicano art, found in extensive files on artists that will be of particular significance to researchers. These often contain exhibition essays, dissertation proposals, and course outlines authored by the artists, along with the standard biographies, exhibition records, and reviews. Some of the files contain rare interviews conducted and transcribed by Ybarra-Frausto. Highlights include conversations with Carmen Lomas Garza, Amalia Mesa-Bains, and members of the Royal Chicano Air Force artist cooperative.

As a member of several Chicano art organizations and institutions, Ybarra-Frausto kept active records of their operation. The extensive files on the Mexican Museum and Galerie de la Raza/Studio 24, both in San Francisco, not only chronicle the history of Chicano art through the records of exhibitions and programming, but also offer case studies on the development of non-profit art institutions. The files on artist cooperatives, organizations, and exhibition spaces cover several regions of the United States, but focus on California, Texas and New York.

Two notable events in the development of Chicano art were the 1982 Califas: Chicano Art and Culture in California seminar at the University of California at Santa Cruz, and the 1990 traveling exhibition Chicano Art: Resistance and Affirmation, 1965-1985 (CARA), of which Ybarra-Frausto served as organizer and catalogue essayist. His records document the planning and development of these seminal events. Ybarra-Frausto's files on folk art, altars, posters, murals, performance art, border art, Chicana feminist art, and Southwestern and Mexican imagery (both urban and rural expressions) mirror the diverse forms and subject matter of Chicano art.

Spanning almost four decades of American culture from a Chicano perspective, these files have a unique historical value. The legacy of Chicano art and its contribution to the cultural landscape of this country, kept alive in Ybarra-Frausto's files, attests to the richness and diversity of American art.

Henry C. Estrada

Research Fellow, 1997.

Arrangement:

The collection is arranged as a single series of subject files. The general contents of each folder have been listed. The subject files are arranged in alphabetical order. While no two files are alike, they may contain résumés, printed and digital material, letters, draft writings, and photographs. Unless otherwise noted, each listing represents one file folder. The abbreviation TYF was used to refer to the name Tomá Ybarra-Frausto throughtout the Series Description.

Autobiographical Note:

Papelitos (little bits of paper), whether rent receipts, paid bills, or piles of personal letters, can become layered bundles of personal history. I have always been a pepenador (a scavenger) and saver of paper scraps. Diary notes, scribbled annotations, and first drafts are often useful indicators of ideas and gestation. Papelitos are the fragments of every-day life that gain expanded meaning integrated into the larger historical events of a period.

In the decade of the 1960s, I started saving ephemeral material--exhibition announcements, clippings of individual artists and of organizations fomenting a Chicano art movement. The social scenarios of the period such as marches, strikes, sit-ins, and mobilizations for social justice all spawned manifestos, posters, leaflets, and other forms of printed material. I somehow managed to assemble and protect the evanescent printed information that recorded the birth and development of Chicano art.

As I started to research and write about Chicano art and artists of the period, I continued to clip, photocopy, and preserve material given me by Mexican-American artists from throughout the nation. My idea was to form an archive that would be comprehensive rather than selective. I knew that it was the offbeat, singular piece of paper with a missing link of information that would attract the scholar.

Today, several decades after the flowering of Chicano art, there is still a lamentable paucity of research and information about this significant component of American art.

It is my fervent hope that this compendium of information will function as a resonant print and image bank for investigators of Chicano culture. Perhaps contained within the archive are the facts that will inspire new visions or revisions of Chicano art and culture--this is my fondest dream.

Dr. Tomás Ybarra-Frausto

New York City, 1998

Related Materials:

Tomás Ybarra-Frausto Papers are located at University of Texas Libraries, The University of Texas at Austin.

Provenance:

The collection was donated to the Archives of American Art by Tomás Ybarra-Frausto in 1997, and in 2004.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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.

Topic:

Santos (Art)  Search this

Hispanic American art -- Sources  Search this

Mexican American artists -- Sources  Search this

Hispanic American artists -- Sources  Search this

Household shrines -- Mexico  Search this

Mexican American arts -- Sources  Search this

Genre/Form:

Photographs

Slides (photographs)

Interviews

Citation:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ybartoma

See more items in:

Tomás Ybarra-Frausto research material

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-ybartoma

Interviewee:

Overstreet, Joe, 1933-2019  Search this

Interviewer:

Richards, Judith Olch  Search this

Extent:

6 Items (Sound recording, master: 6 memory cards (5 hr., 15 min.), secure digital, 1.25 in.)

120 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2010 Mar 17-18

Scope and Contents:

An interview of Joe Overstreet conducted 2010 March 17-18, by Judith Olch Richards, for the Archives of American Art, at Overstreet's home and studio in New York, N.Y.

Overstreet speaks of his family and childhood in Mississippi; introduction to art at a young age and moving to New York City, discovering painting; working at Disney and later Disneyland; studies at the California School of Fine Arts; studio on Grant Ave and the art community of San Francisco; shows with Merton Simpson and Spanierman Gallery LLC; invention of Curvism; interest in social issues and the Civil Rights movement; encounters with Billie Holliday and racial tensions; the evolution of Overstreet's process and style; the history of his paintings destroyed on 9/11; Overstreet also recalls Raymond Howell, Roy O. Disney, Al Williams, Diego Rivera, Bob Kaufman, Sargent Johnson, Merton Simpson, Romare Bearden, Frank Stella, Dominique Menils and others.

Biographical / Historical:

Interviewee Joe Overstreet (1933-2019) was an abstract artist in New York, N.Y. Interviewer Judith Olch Richards (1947- ) is former Executive director of iCI in New York, N.Y.

Provenance:

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

Restrictions:

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

Occupation:

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

Topic:

African American artists  Search this

African American painters  Search this

Civil rights  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Terra Foundation for American Art.

Identifier:

AAA.overst10

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-overst10

Interviewee:

Jones, Frederick D., 1913-1996  Search this

Interviewer:

Williams, Arlene E.  Search this

Creator:

South Side Community Art Center  Search this

African-American Artists in Chicago Oral History Project  Search this

Names:

African-American Artists in Chicago Oral History Project  Search this

South Side Community Art Center  Search this

Extent:

2 Sound cassettes (Sound recording)

80 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1988 Nov. 8-10

Scope and Contents:

An interview of Frederick D. Jones conducted 1988 Nov. 8-10, by Arlene E. Williams, for the Archives of American Art African-American Artists in Chicago oral history project (1988-1989).

Jones speaks of his early life and training, and of the influence of Hale Woodrufff, Louis Ritman, and Eldzier Cortor. He recalls his involvement with the South Side Community Art Center. He discusses some of his early exhibitions, the influences of African and European art, and changes in the art scene after World War II. He compares Chicago and New York art schools, and speaks about the School of the Art Institute of Chicago. Finally, he discusses the civil rights movement and its relationship to the art of the times.

Biographical / Historical:

Frederick D. Jones (1913-1996) was a painter in Chicago, Ill.

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 others.

Topic:

African American artists  Search this

Painters -- Illinois -- 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.

Identifier:

AAA.jones88

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-jones88

Interviewee:

Chandler, Dana, 1941-  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

African-American Master Artists in Residence Program  Search this

Massachusetts College of Art -- Students  Search this

Museum of Fine Arts, Boston  Search this

Northeastern University (Boston, Mass.) -- Faculty  Search this

Simmons College. Art and Music Dept. -- Faculty  Search this

Andrews, Benny, 1930-2006  Search this

Bearden, Romare, 1911-1988  Search this

Catlett, Elizabeth, 1915-2012  Search this

Mazur, Michael, 1935-2009  Search this

Tovish, Harold, 1921-2008  Search this

Extent:

89 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1993 March 11-May 5

Scope and Contents:

An interview of Dana Chandler conducted 1993 March 11-May 5, by Robert F. Brown, for the Archives of American Art.

Chandler remembers his childhood in the Black community of Roxbury, Massachussets, with numerous siblings, pugnacious, hard-drinking longshoreman father, and mother who was the linchpin of the family; precocity as a reader and child artist; attendance at Saturday morning children's art classes at Museum of Fine Arts, Boston, and at Boston Educational High School where needed discipline was instilled in him by its all-white faculty; and as an assistant at school after graduation (1959-61).

Chandler talks about his awareness of budding civil rights movement; his attendance (1962-67) at Massachusetts College of Art while supporting his new, young family and working for the Jamaica Plain Area Planning Action Council which was funded by the federal Model Cities program; his first exhibitions (1967), in a liberal local church and a black businessmen's club; the exhibition (1969) "Twelve Black Artists from Boston," at the Rose Art Museum, Brandeis University; and his involvement, along with Harold Tovish and Michael Mazur, in the group, Artists Against the War.

He recalls his initiation of the exhibition, "Afro-American Artists/New York and Boston," at the Museum of Fine Arts, Boston, 1970, for which he was given no credit; his position as an unpaid cultural commentator for a Black newspaper and radio station; his politically-charged paintings and prints from the late 1960s onward; his meetings with senior Black artists, such as Romare Bearden, Elizabeth Catlett Mora, and Benny Andrews; and his steady espousal of confrontation.

Chandler discusses teaching at Simmons College, Boston, 1971 to present; his creation in 1974 of the African-American Master Artists-in-Residence Program (AMARP), Northeastern University, Boston, and his direction of it until 1993, when he was relieved of the position by the University.

Chandler discusses his exhibition at Northeastern University in 1976, "If the Shoe Fits, Hear It!" under the name Akin Duro, and its evidence of the respect in which he was held; the loss of much of his work in a studio fire; and his current large-scale graphic work.

Biographical / Historical:

Dana Chandler (1941- ) is an African American painter, printmaker, and educator from Boston, Massachussets.

General:

Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 4 hr., 51 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. Funding for the transcription of this interview provided by the Newland Foundation.

Occupation:

Painters -- Massachusetts -- Boston  Search this

Educators -- Massachusetts -- Boston  Search this

Printmakers -- Massachusetts -- Boston  Search this

Topic:

African American artists  Search this

African American painters  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.

Identifier:

AAA.chandl93

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-chandl93

Interviewee:

King, Narcissa Swift  Search this

Interviewer:

Campbell, Suzan  Search this

Names:

O'Keeffe, Georgia , 1887-1986  Search this

Extent:

2 Sound cassettes (Sound recordings , analog)

39 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1991 Oct. 7-1992 Jan. 20

Scope and Contents:

An interview of Mrs. Narcissa Swift King conducted 1991 Oct. 7-1992 Jan. 20, by Suzan Campbell, for the Archives of American Art.

King discusses her friendship with the painter Georgia O'Keeffe.

Biographical / Historical:

Narcissa Swift King (1911-1998) was active in the Civil Rights Movement from Chicago, Ill. King was the great-granddaughter of Gustavus F. Swift, founder of the Swift meat packing company. She helped found and became the first chairwoman of the Chicago Urban League's woman's board in 1964 and was active in the Civil Rights Movement. King moved to Santa Fe, N.M., in 1979, and was active in the arts community there.

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 this interview was provided by the Georgia O'Keeffe Foundation.

Topic:

Women artists  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.

Identifier:

AAA.king91

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-king91

Creator:

National Museum of American History  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Wed, 16 Dec 2020 16:55:54 +0000

Topic:

American History  Search this

See more posts:

Blog Feed

Data Source:

National Museum of American History

EDAN-URL:

edanmdm:posts_111a25e36430d419b154f322a0b4cdee

Artist:

Christopher, William R, 1924-1973  Search this

Names:

Selma to Montgomery Rights March (1965 : Selma, Ala.)  Search this

Archer, Osceola  Search this

Crapo, Henry H.  Search this

French, Margaret  Search this

Howard, Charles, 1899-1978  Search this

King, Martin Luther, Jr., 1929-1968  Search this

Perlin, Bernard, 1918-  Search this

Tooker, George, 1920-2011  Search this

Von Mohrenschildt, Dimitri Sergius, 1902-2002  Search this

Extent:

8.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Motion pictures (visual works)

Sketches

Sketchbooks

Photographs

Date:

circa 1920s-circa 1973

Summary:

The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five short film reels containing amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.

Scope and Contents:

The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five reels of motion picture films, consisting of amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.

Biographical materials include address books, annotated memorabilia, awards and certificates, curriculum vitae and resume materials, and identification materials. Correspondence is with friends and fellow artists, including actress Osceola Archer and Henry Crapo, galleries, and others. Writings and notes include eleven notebooks, miscellaneous undated notes and papers, annotated drafts and writings by William Christopher, and writings by others. There are five diaries written by William Christopher from the 1940s to the 1960s.

Subject files document miscellaneous projects in which Christopher was involved and/or interested, and include several about Dr. Martin Luther King, Jr. containing correspondence, printed material, and two diaries written by Christopher during his attendance of the Civil Rights march from Selma to Montgomery.

Scattered personal business papers concern artwork sold and loaned and personal finances. Printed materials include clippings, exhibition catalogs and materials, magazines and programs, and posters. Photographs are of William Christopher, Henry Crapo, Margaret French, Charles Howard, Bernard Perlin, George Tooker, male models and figures, furniture, landscapes, buildings, and artwork.

Christopher's papers include over one hundred sketches and watercolors, eleven sketchbooks, an artwork by Dimitri Von Mohrenshildt, and one sketch by George Tooker. Also found among the papers are five film reels made by Christopher for an unfinished project, containing footage of New York City cityscapes and street scenes.

Arrangement:

This collection is arranged as 10 series:

Series 1: Biographical Material, circa 1940s-circa 1973 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1947-circa 1973 (1.9 linear feet; Boxes 1-3)

Series 3: Writings and Notes, circa 1947-1970 (0.4 linear feet; Box 3)

Series 4: Diaries, circa 1940s-circa 1960s (0.2 linear feet; Boxes 3-4)

Series 5: Subject Files, 1943-1972 (0.7 linear feet; Boxes 4, 9)

Series 6: Personal Business Records, circa 1950-circa 1972 (0.3 linear feet; Box 4)

Series 7: Printed Material, circa 1950s-circa 1972 (1.4 linear feet; Boxes 4-5, 9, OV12)

Series 8: Photographs, circa 1920s-circa 1970s (0.7 linear feet; Boxes 6, 8, MGP 4)

Series 9: Artwork and Sketchbooks, circa 1940s-circa 1970s (1.6 linear feet; Boxes 6-8, OV10-11, 13-18)

Series 10: Unidentified Project, Motion Picture Films, 1961 (0.5 linear feet; FC 19-23)

Biographical / Historical:

William Christopher was a painter, art instructor, and Civil Rights activist living and working in New York, New Hampshire, and Vermont. He was born in Columbus, Georgia on March 4, 1924, and served in the U. S. Navy from 1941 to 1943.

Aided by grants and scholarships, Christopher studied in France at the Sorbonne, Academie Julian, and the Ecoles d'Art Americaines between 1946-1948. While there, he also studied with Ossip Zadkine. He returned to New York and studied with Amedee Ozenfant and Hans Hofmann between 1948 and 1950.

Christopher's painting was greatly influenced by his time spent in Paris and New York, and his later involvement with the Civil Rights movement, Dr. Martin Luther King, Jr., and the march in Selma in 1965. His first U. S. solo exhibition was in 1952 at the Roko Gallery in New York, and he exhibited widely in New York, Boston, Washington, D.C. at the Nexus Gallery, the Boston Arts Festival, the Corcoran Gallery of Art, Joan Peterson Gallery, Galeria Juana Mordo, and the Whitney Museum of American Art, among others. In 1964, Christopher was invited to present his paintings to Dr. Martin Luther King, Jr. during the presentation of Dr. King's papers to Boston University. This is where Christopher met King.

Christopher moved to Hartland, Vermont in 1960, with his partner painter George Tooker. He remained there for the rest of his life. Christopher died in 1973.

Provenance:

William Christopher donated his papers to the Archives of American Art in 1972.

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.

Glass plate negatives are housed separately and closed to researchers.

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  Search this

Topic:

Civil rights demonstrations -- Alabama -- Selma  Search this

Civil rights -- United States  Search this

Genre/Form:

Drawings

Diaries

Motion pictures (visual works)

Sketches

Sketchbooks

Photographs

Citation:

William Christopher papers, circa 1920s-circa 1973. 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.chriwill

See more items in:

William Christopher papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-chriwill