Search Results

Creator:

Kent, Rockwell, 1882-1971  Search this

Names:

American Artists' Congress  Search this

Artists League of America  Search this

Artists' Union (New York, N.Y.)  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

International Workers Order  Search this

Macbeth Gallery  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

Boyesen, Bayard  Search this

Chamberlain, J. E.  Search this

Chase, William Merritt, 1849-1916  Search this

Cleland, T. M. (Thomas Maitland), 1880-1964  Search this

Daniel, Charles, 1878-1971  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Fitzgerald, James, 1899-1971  Search this

Freuchen, Peter, 1886-1957  Search this

Gellert, Hugo, 1892-1985  Search this

Gottlieb, Harry, 1895-  Search this

Hartley, Marsden, 1877-1943  Search this

Hays, Lee, 1914-1981  Search this

Henri, Robert, 1865-1929  Search this

Jones, Dan Burne  Search this

Keller, Charles, 1914-2006  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Nearing, Helen  Search this

Nearing, Scott, 1883-1983  Search this

Pach, Walter, 1883-1958  Search this

Phillips, Duncan, 1886-1966  Search this

Rasmussen, Knud, 1879-1933  Search this

Reeves, Ruth, 1892-1966  Search this

Robeson, Paul, 1898-1976  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Ruggles, Carl, 1876-1971  Search this

Seeger, Pete, 1919-2014  Search this

Stefansson, Vilhjalmur, 1879-1962  Search this

Untermeyer, Louis, 1885-1977  Search this

Wildenstein, Felix, 1883-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

88 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Sketches

Business records

Photographs

Drawings

Date:

circa 1840-1993

bulk 1935-1961

Summary:

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Scope and Content Note:

The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.

Arrangement:

The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)

Biographical Note:

Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Provenance:

In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.

Restrictions:

The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State)  Search this

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

Art, Modern -- 20th century -- United States -- Political aspects  Search this

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Function:

Labor unions

Genre/Form:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kentrock

See more items in:

Rockwell Kent papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a

EDAN-URL:

ead_collection:sova-aaa-kentrock

Creator:

Gugler, Eric, 1889-1974  Search this

Names:

Cornell, Katharine, 1893-1974  Search this

Gugler, Frida  Search this

Manship, Paul, 1885-1966  Search this

Roosevelt, Eleanor, 1884-1962  Search this

Extent:

34.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Date:

1889-1977

Summary:

The papers of architect and painter Eric Gugler measure 34.9 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Scope and Contents:

The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Biographical materials include certificates, official documents, curriculum vitae, and histories of the Gugler family. Correspondence consists of professional letters regarding prospective and active projects, and personal correspondence from friends and family, including Eleanor Roosevelt, Katherine Cornell, and Paul Manship. Writings include book proposal drafts, essays, notes, speeches, and writings by others.

Project files consist of correspondence, architectural sketches, blueprints, and photographic and printed materials related to Gugler's work on commercial, residential, governmental, and memorial commissions. Renderings of specific design objects, sculptures, and Gugler's collaborative work on preservation efforts are also included.

Personal business records include correspondence related to Gugler's firm, including office leases, prospective client lists, and service fees. Printed material consists of clippings, exhibition material, postcards, and other miscellaneous items.

Photographic materials are of Eric Gugler and members of the Gugler family. Artwork includes sketches, watercolors, paintings, photographs of artwork, and artwork by Frida Gugler.

Arrangement:

The collection is arranged as 8 series. Glass plate slides are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Missing Title

Series 1: Biographical Material, 1898-1975 (0.5 linear feet; Box 1, OV 33)

Series 2: Correspondence, 1906-1974 (4 linear feet; Boxes 1-5, 20, OV 33)

Series 3: Writings, 1932-1973 (16 folders; Box 5)

Series 4: Project Files, 1889-1977 (28.2 linear feet; Boxes 5-18, 20-24, 70-72, OV 25-31, OV 33-49, RD 50-69)

Series 5: Personal Business Records, 1928-1972 (0.3 linear feet; Box 18)

Series 6: Printed Material, 1923-1977 (0.3 linear feet; Boxes 19, 24)

Series 7: Photographic Materials, 1890-1966 (9 folders; Box 19)

Series 8: Artwork, 1895-1970 (0.4 linear feet; Box 19, OV 32)

Biographical / Historical:

Architect and painter Eric Gugler (1889-1974) lived and worked in New York City, New York. Known for his work on monuments and memorials, Gugler was selected by President Roosevelt to head the redesign and building of the White House's West Wing in 1934.

Born in Milwaukee, Wisconsin to lithographer Julius Gugler and his wife, Bertha Bremer, Gugler attended Columbia University and received a three year scholarship to continue his studies at the American Academy in Rome. In 1919, he opened his architectural firm on Park Avenue in New York City and began accepting residential and commercial commissions. In addition to designing buildings and houses for clients, Gugler also completed smaller design objects for ceiling details, sculptures, murals, and decorative structures. In the late 1920s and early 1930s, his firm won commissions to complete World War I Memorials in New York and Chicago, Illinois, and also received a major commission to design the Educational Building in Harrisburg, Pennsylvania. Around this time, Gugler married Broadway actress and dancer Anne Tonetti and designed a second residence in the artist's community of Sneden's Landing, New York.

Gugler's interest and willingness to work on large scale memorials and institutional buildings aided in his appointment to a number of prominent commissions in the 1930s to the 1950s. These include the design of the White House's West Wing and the Sicily-Rome American Cemetery and Memorial in Italy, new construction and renovations to the Forman School (Conn.) and Wabash College (Ind.), and the building of residential houses for Katherine Cornell, Barry Faukner, and Paul Manship. In the 1960s, he was selected to head memorial designs for the Franklin Delano Roosevelt and Theodore Roosevelt Memorials in Washington, D.C., and also spent considerable time and energy developing the "Hall of Our History" project. Gugler remained active designing and working on projects until his death in 1974.

Related Materials:

The White House Historical Association's Office of the Curator holds additional Eric Gugler Papers related to the expansion and redesign of the West Wing in 1934.

Provenance:

The papers were donated in 1977 by Gugler's wife, Anne Tonetti Gugler. Additional materials were donated between 1979 and 1980 by Gugler's business associate, Ferdinand Eiseman.

Restrictions:

Use of 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.

Occupation:

Architects as artists -- New York (State) -- New York  Search this

Topic:

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

Architecture -- Designs and plans  Search this

Architecture, Modern -- 20th century  Search this

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

Genre/Form:

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Citation:

Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by 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.

Identifier:

AAA.gugleric

See more items in:

Eric Gugler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a729ea25-2ca9-4693-95a4-2f15b5651aab

EDAN-URL:

ead_collection:sova-aaa-gugleric

Creator:

Suttman, Paul, 1933-1993  Search this

Names:

American Academy in Rome  Search this

Cranbrook Academy of Art  Search this

Extent:

7.1 Linear feet

8 Items (rolled docs)

Type:

Collection descriptions

Archival materials

Sketchbooks

Video recordings

Date:

1947-1998

Scope and Contents:

Biographical material, correspondence, subject and teaching files, photographs, works of art, financial records, motion picture film and video recordings, and printed material concerning Suttman and his career as a sculptor and educator.

Biographical material includes address books, resumes, diplomas, awards, academic records, health records, obitutaries for Paul Suttman and a guest book from his funeral, 1993. Correspondence is with dealers, galleries and artists. Included are one illustrated letter from Mimi Gross and Red Grooms to Elisse and Paul Suttman and Edward C. Flood, ca. 1968 and one illustrated letter from Mimi Gross and Red Grooms to Elisse and Paul Suttman, Sept. 19, 1971. Subject and teaching files concern Cranbrook Academy of Art, the University of Michigan, Italy (1962-1965), the American Academy in Rome (1965-1968), Roswell, Rome and Pieve (1970-1975), University of New Mexico (1975-1979), Texas A & M, Columbia University.

Photographs are of Suttman as well as slides of works of art. Works of art include studies, sketches and sketcbhooks. Financial material includes expense and income records. Motion picture and videos consist of 3 reels of 16mm film by Paul Suttman, 1965, including one untitled art film shot at the American Academy of Rome, and 1 VHS copy of the 16mm film; 1 VHS tape of an exhibition and the Suttman house and studio; and 1 VHS biography of Suttman composed by his son Mark Bertin, 1993-1995. Printed material includes press books, 1958-1995, exhibition catalogs, brochures and newspaper clippings. Also found are material regarding the Paul Suttman memorial fund, memorial projects, and the Paul Suttman catalog raisonné, organized by Virginia Bush Suttman.

Biographical / Historical:

Sculptor and educator. b. 1933; d. 1993 Suttman studied at the Cranbrook Academy of Art, The American Academy in Rome.

Provenance:

Donated 2005 by Virginia Bush Suttman, Suttman's widow.

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.

Occupation:

Sculptors -- New York (State)  Search this

Genre/Form:

Sketchbooks

Video recordings

Identifier:

AAA.suttpaul

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93a069c59-9e8d-40ce-b3a8-2e456e74bb9f

EDAN-URL:

ead_collection:sova-aaa-suttpaul

Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Names:

Parsons School of Design -- Faculty  Search this

Push Pin Studios  Search this

School of Visual Arts (New York, N.Y.) -- Faculty  Search this

Arbus, Diane, 1923-1971  Search this

Cage, John, 1912-1992  Search this

Glaser, Milton  Search this

Hay, Alex  Search this

Huebler, Douglas  Search this

Israel, Marvin  Search this

Johnson, Ray, 1927-  Search this

Kelly, Ellsworth, 1923-  Search this

Scull, Robert C.  Search this

Sonneman, Eve  Search this

Extent:

49.2 Linear feet

0.367 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Ephemera

Illustrations

Music

Photocopies

Photographs

Posters

Prints

Sketchbooks

Sound recordings

Video recordings

Place:

New York (State) -- New York City -- Photographs

Date:

circa 1860-2011

bulk 1940-2011

Summary:

The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Scope and Contents:

The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Biographical material and personal business records include address books, calendars, legal paperwork, life documents, resumes, and other material. Correspondence is both personal and professional in nature. Personal correspondence is between Cosmos and friends, family, and pen pals. Professional correspondence is with curators, publishers, and estates and mostly concerns Cosmos's artwork, photographs, or objects he lent for exhibition or publication.

Writings include general writings and notes, including a book layout for a book never realized; fifteen notebooks containing Cosmos's writings about projects, dreams, and miscellany; music compositions in both written form and on sound recordings; and scattered writings by others, including manuscripts and theater scripts.

Teaching files document photography courses taught by Cosmos at the School of Visual Arts in 1974-1976, and the Parsons School of Design in 1980.

Printed materials and commercially published sound and video recordings in the collection are extensive and reflect Cosmos's unique interests and inspirations, and his tendency to save and collect material discarded or rejected by others. There are books and periodicals featuring Cosmos's work, annotated by Cosmos, or of special significance to Cosmos. There is also a list of books in Cosmos's library. Some of the periodicals concern Push Pin Studios and Milton Glaser. There is a large group of ephemera, such as announcements, catalogs, press releases, programs, playbills, posters, and assorted items covering several decades of New York exhibitions, events, concerts, and performances. There are posters for exhibitions, events, performances, film screenings, and concerts. Some of the clippings and other ephemera may have been removed from scrapbooks or other compilations, and some remain collated and mounted on mat board. Some of the printed materials may have been used by Cosmos as source materials.

Photographic material makes up a significant portion of the collection (14.5 linear feet), and illustrates the breadth of Cosmos's documentation of New York City, capturing the avant-garde art and theater worlds, the people and streets, self-portraits, and numerous other subjects. There are images of named people and people at parties, of exhibitions and performances, of New York City streets and buildings, of a more personal and family nature, of artwork, and of miscellaneous subjects. There are also collected photographs, some of which are vintage. There is a large group of unidentified and unsorted negatives, slides, and contact sheets. Where they existed, labeling and descriptive notes have been preserved with the unidentified materials.

Artwork is also quite extensive (10.5 linear feet) and found in a variety of genre, format, and media. There is also a small subseries of artwork by others. One group of artwork consists of titled or named art projects and series, often executed in the form of series that spanned decades. This group includes Cosmos's Reciprocal project that incorporated his photographic work. For this project, he would photograph notable figures, including John Cage, Robert Scull, and others, and ask them to photograph him. There are also several folders of Cosmos's work focusing on photographer Diane Arbus.

A group of artwork identified as "compilations" consist primarily of photocopies of compiled presentations of documents, photographs, fragments, writings, drawings, printed materials and ephemera, and bits and pieces of Cosmos's titled work. These compilations were prepared by Cosmos for individuals in the art world to whom he was close. The original compilations were then photocopied and presented to the intended receiver. The subseries of compilations contains both originals and photocopied versions that do not always correlate with one another. Also found among the artwork are drawings, illustrations, a few paintings, collages, and sketchbooks by Cosmos. Artwork by others includes an artist book, drawings, a sketchbook, and prints by Milton Glaser, Alex Hay, Douglas Huebler, Marvin Israel, Ray Johnson, Ellsworth Kelly, and Eve Sonneman.

Found within the collection are three dimensional artifacts, including eight cameras and other items Cosmos saved and collected to incorporate into his photographs.

There is a large series of unpublished sound recordings and born-digital material, some of which is clearly identified and labeled, and some of which is unidentified. When known, labeling has been incorporated into the folder titles in the container inventory. Users should note that sound recordings that were clearly identified and associated with other projects were arranged in context with those related materials.

Printed material (series 5), photographic material (series 6), and artwork (series 7), include many photocopies. Cosmos used the photocopy process to make copies of his work to share with others, and as a creative form of art in itself, experimenting with tonality, collage, and the degeneration of images from repeated copying. Photocopies were also made of articles, newspapers, and various source material and ephemera that he collected. Many photocopies have descriptive labeling on the back. For some photographs and projects, photocopies are the only form of documentation located in the collection.

Arrangement:

The collection is arranged as nine series

Missing Title

Series 1: Biographical Material and Personal Business Records, circa 1949-2011 (1 linear foot; Box 1, 44, OV 49)

Series 2: Correspondence, 1940s-2011 (.7 linear feet; Box 1-2)

Series 3: Writings, circa 1947-2000s (4.2 linear feet; Box 2-6, 44, OV 50-51)

Series 4: Teaching Files, 1970s-1980s (1.9 linear feet; Box 6-8, 44, OV 52)

Series 5: Printed Material, Published Sound, Video Recordings, 1894-2000s (8.3 linear feet; Box 8-13, 44-45, OV 53-73, RD 105)

Series 6: Photographic Material, circa 1860-2000s, bulk 1970-2010 (14.5 linear feet; Box 14-26, 46-47, OV 74-80)

Series 7: Artwork, 1947-2000s (10.5 linear feet; Box 27-34, 47-48, OV 81-104)

Series 8: Artifacts, 1960s-2000s (1.5 linear feet; Box 34-35)

Series 9: Sound Recordings and Born-Digital Material, 1950s-2000s (6.6 linear feet; Box 36-43, 0.367 GB; ER01-ER02)

Biographical / Historical:

Cosmos Andrew Sarchiapone (1931-2011) was a documentary photographer, musical composer, and conceptual artist who worked in New York City.

Cosmos Andrew Sarchiapone was named Cosime Sarchiapone at birth, and was also known as Cosmos, Cosmos Savage, and Richard Savage. His parents, Lois and Aldo, had seven children, including twins Cosmos and Damian. Born in Manhattan, Cosmos graduated from the La Guardia High School of Music and Art in New York City in 1948 and from Syracuse University in 1958 with a concentration in music composition and studio art. After college, he studied musical composition with John Cage at the New School in 1961, art history with Meyer Schapiro at Columbia University from 1963-1965, illustration with Marvin Israel from 1966-1971, design with Milton Glaser from 1968-1973, and photography with Diane Arbus from 1970-1971. He taught photography at the School of Visual Arts from 1974-1976, and at Parsons School of Design in 1980. In the early 1970s, he led experimental theater workshops at Columbia-Barnard University.

Between 1968-1969, Cosmos worked with Milton Glaser and Seymour Chwast at their Push Pin Studios, a graphic design and illustration studio.

Sometime between the late 1960s and the early 1970s, Cosmos began photographing New York City, capturing the art and theater worlds, the people and streets, self-portraits, and numerous other subjects. As a freelance photographer for New York magazine (founded by Milton Glaser) and other mass-market publications, Cosmos photographed Andy Warhol and his circle, Halloween parties at the Waldorf, the Rev. Sun Myung Moon convention, the Jesus Joy Jubilee at Carnegie Hall, the Beat Poets' reunion and private parties attended by Hollywood actors and directors, often capturing the overlapping worlds of art, movies and music. Cosmos's photographs have been published in numerous books and publications. His work was featured in several exhibitions in the 1970s, including shows at the Jamie Gallery, the Fine Arts Building, and the Baltimore Museum of Art. But he created the bulk of his work for himself and much of it remains unpublished.

Throughout the 1970s, Cosmos documented the avant-garde art scene in New York City. He captured performances at The Kitchen and La Mama, the offices of New York magazine and Push Pin Studios, Tom O'Horgan's Broadway and Off-Broadway productions, and much more. He photographed performances and installations at 112 Greene Street in SoHo, an interdisciplinary art space that nurtured the experiments of a number of now significant American artists, dancers and musicians, including Chris Burden, Vito Acconci, Suzanne Harris and Phillip Glass, all of whom were photographed by Cosmos. He also photographed numerous images of 112 Greene Street's sister space, Matta-Clark's FOOD, an artist-run eatery at the corner of Prince and Wooster Streets where exotic meals were offered up as both performance art and nourishment. Cosmos used his camera as a way to get close to artists he admired, including Diane Arbus, Milton Glaser, and Marvin Israel.

According to Milton Glaser, "Cosmos was a brilliant photographer who was never without a camera….He was always everywhere. In terms of documentation of that period, there was no one like him."

Cosmos often incorporated aspects of his photography into conceptual art pieces, including two serial works that Cosmos made from fragments of Diane Arbus' discarded photographs, transforming her iconic work. Many of Cosmos's conceptual art pieces often took the form of a series, and were continuously revisited. In Reciprocal, Cosmos photographed figures—including those he admired like John Cage, Meyer Schapiro, Robert Scull, and others—then asked each to photograph him. Many of Cosmos's art projects were based in photographic documentation of his "performances", as in Sheet Music, where he is seen tearing a white sheet outside Bloomingdale's during the 'white sale.' Cosmos's convictions about smoking, its hazards, and the nefarious actions of tobacco companies led to several related projects, among them, Photo Arrest, where Cosmos captured on camera people smoking illegally in hospitals, classrooms, grocery stores, and elevators.

Cosmos created scores for plays and dance performances, including Churchyard by the Paul Taylor Dance Company in 1970, and numerous Off-Off Broadway theater productions in the 1960s. He wrote an opera, Vox Humana #3. The opera is about three heroines of history: Antigone, Joan of Arc, and Patty Hearst, and synthesizes a variety of media, including music composition, stage direction, and video (Patty Hearst in Chains), into a four hour performance that was staged at La Mama in 1976 and The Kitchen in 1977.

Cosmos lived at Westbeth Artists' Community from 1970-2011, but had largely withdrawn from the world by the 2000s. Cosmos Sarchiapone died in 2011.

Provenance:

Donated to the Archives of American Art in 2015 by Tom Sarchiapone, Cosmos Sarchiapone's brother, via Catherine Morris, curator and friend of Cosmos.

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 copy requires advance notice.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

Conceptual artists -- New York (State) -- New York  Search this

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

Topic:

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

Art -- Study and teaching  Search this

Conceptual art  Search this

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

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

Photography -- Study and teaching  Search this

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

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

Genre/Form:

Drawings

Ephemera

Illustrations

Music

Photocopies

Photographs

Posters

Prints

Sketchbooks

Sound recordings

Video recordings

Citation:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sarccosm

See more items in:

Cosmos Andrew Sarchiapone papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bf441ea1-b8c9-46c4-a9ec-01ea133658fb

EDAN-URL:

ead_collection:sova-aaa-sarccosm

Collection Creator:

Ukeles, Mierle  Search this

Container:

Box 14, Folder 8

Type:

Archival materials

Date:

2007

Collection Restrictions:

This collection is temporarily closed for processing. Contact References Services for more information.

See more items in:

Mierle Laderman Ukeles papers

Mierle Laderman Ukeles papers / Series 1: Project Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95c28e6e3-d631-4f29-9dea-51655dd08e1b

EDAN-URL:

ead_component:sova-aaa-ukelmier-ref720

Creator:

Barnaby, Ralph S. (Ralph Stanton), 1893-1986  Search this

Names:

Early Birds of Aviation (Organization).  Search this

Soaring Society of America  Search this

United States. Navy  Search this

Barnaby, Ralph S. (Ralph Stanton), 1893-1986  Search this

Extent:

3.15 Cubic feet ((7 legal document boxes))

2.94 Linear feet

Type:

Collection descriptions

Archival materials

Correspondence

Diaries

Manuscripts

Photographs

Publications

Maps

Date:

1915-1986

Summary:

Ralph Stanton Barnaby (1893-1986) was an aviation pioneer. Barnaby was the first licensed glider pilot in the United States and the first to successfully launch a glider from an airship. He organized and directed the Navy's first school for glider pilots. Barnaby also served as president of the Early Birds and helped organize the Soaring Society of America, as well as authoring a number of books on gliders and paper airplanes.

Scope and Contents:

The Ralph Stanton Barnaby collection consists of approximately two cubic feet of materials relating to Barnaby's personal life and his relationship with the Early Birds of Aviation, Inc. This collection contains approximately one-fourth of Barnaby's personal papers, the remainder being held by the National Soaring Museum and the Franklin Institute. Before being accessioned into the Archives, documents from the Museum's biographical files were added to the collection. These documents are indistinguishable from the donated material and so remain part of this collection.

This collection consists almost entirely of correspondence, newsletters, news clippings, and publications relating to early aviation. A problem arises initially from the fact that all of the material in this collection is supposed to relate to Barnaby's relations with the Early Birds. As the majority is correspondence, it would be logical to arrange by individuals and/or offices first, but the fact that offices in the Early Birds organization were rotated yearly and that much of the correspondence is of a personal nature makes this difficult.

Materials in this collection date between 1911 and 1986 and the bulk dates ranging between 1930 and 1980, when Ralph Barnaby was most active in the Early Birds of Aviation, Inc. The materials were broken down into four series.

The National Air and Space Museum (NASM) Archives received from the estate only those materials relating to his Early Birds affiliation, with his other materials going to the National Soaring Museum and the Franklin Institute. Any researcher interested in information relating to Barnaby's soaring experiences or personal life which NASM does not have should contact these organizations.

Biographical / Historical:

Ralph Stanton Barnaby was born 21 January 1893 in Meadville, PA, but moved to New York City in 1900, Barnaby has his first taste of aviation in 1905, when Roy Knabenshue flew his dirigible over the city. In 1908 Barnaby went to Belleville, New Jersey to see Thomas Baldwin fly what became the Signal Corps Dirigible No. 1. With his inspiration, Barnaby designed, built and flew his first glider in Roxbury Connecticut on 18 August 1909. After improved designs and additional flights, Barnaby was awarded the Fèdèration Aèronautique Internationale Soaring Certificate #1 for the United States, signed by Orville Wright. Now thoroughly bitten by the aviation bug, Barnaby forsook his chosen career as an artist and attended Columbia University, graduating in 1915 with a Bachelor's Degree in Mechanical engineering. From Columbia, Barnaby went to the Elco Boat Company, where he worked with Alexander Graham Bell on the design and production of high-speed subchasers for the U.S. Navy. In 1916, he took the position of Assistant Chief Engineer and head of the Engineering Department at the Standard Aero Corporation, under Charles Healy Day.

When America entered World War I, Barnaby resigned from Standard Aero and accepted a commission in the Navy, serving overseas until the spring of 1919. Barnaby then came home and attended the Navy Flight School at Naval Air Station (NAS) Pensacola, Florida and the Aviation Ground School at M.I.T., after which he was awarded his wings. Barnaby served as the First U.S. Navy representative on the Army-Navy Standards Committee and, in 1920, he was made Project Engineer for the Naval Aircraft Factory, Philadelphia, Pennsylvania.

On 31 January 1930 Barnaby performed the first successful glider release from USS Los Angeles during tests at NAS Lakehurst, New Jersey. These tests led to the later operation of powered aircraft from USS Macon and USS Akron. During 1930 he also authored Gliders and Gliding, established the U.S. Navy's Glider School, NAS Pensacola, Florida and served as Chief Engineer and Assistant Manager of the Naval Aircraft Factory, Philadelphia. Following the conclusion of the glider/dirigible tests, Barnaby was promoted to the rank of Lt Commander. In 1930 Barnaby joined the recently founded organization known as the Early Birds of Aviation, Inc.

From 1933 to 1939 Barnaby was assigned to a variety of bases in as many roles ranging from aircraft inspector at the Baltimore Naval Aircraft Factory (1933-1934) to repairs officer, NAS Pensacola (1934-1939). In 1938 Barnaby was promoted to the rank of Commander and a year later became Assistant Chief Engineer at the Naval Aircraft Factory, Philadelphia, where he remained until America's entrance into World War II. During the war, Barnaby was assigned to the Philadelphia Naval Shipyard handling the design and procurement of troop and cargo-carrying gliders. In 1944 Barnaby was responsible for establishing and directing the Naval Aircraft Modification Unit, Johnsville, Pennsylvania, later known as the Naval Development Center and from 1945 to 1947 Barnaby served as Commanding Officer. In 1947 he retired from the U.S. Navy at the rank of Captain.

Following his retirement, Barnaby took a position at the Franklin Institute, Philadelphia Pennsylvania. where he worked in a variety of capacities including Aeronautics Consultant to the Director of the Science Museum and Chief of the Aeronautics Section He was responsible for planning and directing air traffic control research and aeronautical engineering and for the acquisition of many of the Institute's early flight artifacts, most notable their Wright Model B Flyer, the type Barnaby was taught to fly by George W. Beatty in 1912. When he passed away, Barnaby held the title of "Keeper Emeritus, Hall of Aviation."

Aside from his Navy and professional career, Barnaby had a multitude of other interests. Prior to witnessing the Knabenshue and Baldwin dirigible flights, Barnaby wanted to be an artist and studied at the Art Students League in New York City. He was a skilled craftsman, working in several mediums, but is best known for his sculptures. Examples of his work include bronze busts of famous naval leaders at the U.S. Naval Academy, Annapolis, Maryland, pieces at the Mariner's Museum at Newport News Virginia, the bronze of the Wright Brothers at the Wright Memorial in Kitty Hawk, North Carolina and the bas relief of Thomas E. Selfridge, first man to die in an air crash at Fort Myer, Virginia. In addition, most of the medallions and pins cast and presented by the Early Birds of Aviation were designed by Barnaby. Numerous examples of self-designed greeting cards designed by Barnaby reflect his artistic talents.

Another of Barnaby's hobbies was paper airplanes. Barnaby used a design he perfected while acting as liaison officer at Wright Field, Dayton, Ohio in 1927 to win Scientific America's First International Paper Airplane Competition in 1967. In 1968, he authored How to Make and Fly Paper Airplanes which sold widely and discussed holding a program with the Smithsonian on paper airplane construction.

In addition to being a Past President of the Early Birds of Aviation, Barnaby was a member and/or officer of many other aeronautical organizations. In 1960 he was named an "Elder Statesman of Aviation" by the National Aeronautics Association. He was also Fellow of the Institute of the Aeronautical Sciences, Founder of the Soaring Society of America, member of the Aircraft Owners and Pilot's Association, Past President of Aero Club of Pennsylvania, member of the Gliding Committee of the Fèdèration Aèronautique Internationale, member of the Twirly Birds, the Philadelphia Glider Council, the Golden Eagles, the Army/Navy Club, the Society of Automotive Engineers, American Society of Mechanical Engineers, founder of the New York Model Aero Club and member of the Scientific Research Society of America.

Barnaby's awards are diverse and include the Legion of Merit for Naval Services, U.S. Navy Air Medal and the Medal of Merit from Columbia University. He was the 1955 recipient of the Paul Tissandier Diploma from the Fèdèration Aèronautique Internationale and was named to the Helms Athletic Hall of Fame for his contributions to the sport of soaring and gliding in America.

Ralph Stanton Barnaby Timeline

1893 -- Ralph Stanton Barnaby born, 21 January, Meadville, Pennsylvania.

1900 -- Family moved to New York City.

1904-1908 -- Grace Church Choisters School, New York City; Trinity School.

1909 -- Designed, built and flew his own glider, 18 August, Roxbury Falls, Connecticut.

1911 -- Co-founded New York Model Aero Club.

1912 -- Took flying lesson with George Beatty, Long Island, New York.

1915 -- Graduated with a degree in Mechanical Engineering, Columbia University.

1915-1916 -- Worked with Alexander Graham Bell on designing high-speed boats for the Navy with the Elco Company, Bayonne, New Jersey.

1915-1916 -- In charge of sub-chaser assembly and testing at Montreal, Quebec.

1917 -- Joined Standard Aero Corporation with Charles Healy Day, was made Assistant Chief Engineer and head of Engineering Department.

1917 -- Accepted a commission in the United States Navy at rank of ensign; First Navy representative on the Army-Navy Standards Committee.

1917-1918 -- Attended Aviation Ground School, M.I.T.

1921 -- Promoted to rank of Lieutenant in U.S. Navy.

1920-1922 -- Project Engineer, Naval Aircraft Factory, Philadelphia

1922-1927 -- Specification Division, Bureau of Aeronautics, Washington, DC.

1928-1929 -- Liaison officer, Wright Field, Dayton, Ohio.

1929-1933 -- Returned to Specifications Division, Bureau of Aeronautics, Washington, DC.

1930 -- 31 January, became the first individual dropped in a glider from a dirigible, USS Los Angeles.

1930 -- Authored Gliders and Gliding, Roland Press.

1930 -- Organized and directed the U.S. Navy's glider school, NAS Pensacola

1930 -- Served as Chief Engineer and Assistant Manager of the Naval Aircraft Factory.

1931 -- Promoted to rank of Lt. Commander, U.S. Navy.

1933-1934 -- Inspector for Naval aircraft, Baltimore, Maryland.

1934-1936 -- Repairs Officer, Naval Air Station, Pensacola, Florida.

1936 -- Married Margaret E. Elston.

1937-1939 -- Assigned to Fleet Air Base, Coco Solo, Canal Zone.

1938 -- Promoted to rank of Commander, U.S. Navy.

1939-1941 -- Assistant Chief Engineer, Naval Aircraft Factory.

1944 -- Established the Naval Air Development Center, Johnsville, Pennsylvania.

1945-1947 -- Commanding Officer of the Naval Air Development Center, Johnsville, Pennsylvania.

1947 -- Retired from U.S. Navy at rank of Captain.

1947 -- Accepted position at Franklin Institute, Philadelphia, Pennsylvania.

1950 -- Served as Captain of the first American soaring team to participate in an international gliding event, Sweden.

1967-1968 -- Winner of the First International Paper Airplane Competition and authored How to Make and Fly Paper Airplanes.

1986 -- Passed away, 15 May, Center City, Pennsylvania.

General:

Additional Materials: The following materials were transferred to the National Air and Space Museum Aeronautics Division -- one Early Bird cap, one trophy, two plaques, medals, pins, and official Early Bird envelopes.

Provenance:

Ralph Stanton Barnaby, gift, 1987, 1987-0048, Not NASM

Restrictions:

No restrictions on access

Rights:

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

Topic:

Gliding and soaring  Search this

Aeronautics  Search this

Periodicals  Search this

Works of art  Search this

Genre/Form:

Correspondence

Diaries

Manuscripts

Photographs

Publications

Maps

Identifier:

NASM.1986.0048

See more items in:

Ralph Stanton Barnaby Papers

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg23121cf42-0f18-4da1-96c9-27eb2fed0abf

EDAN-URL:

ead_collection:sova-nasm-1986-0048

Creator:

Hirshhorn Museum and Sculpture Garden  Search this

Type:

YouTube Videos

Uploaded:

2020-12-16T19:35:41.000Z

YouTube Category:

Entertainment  Search this

Topic:

Art, modern  Search this

See more by:

hirshhornmuseum

Data Source:

Hirshhorn Museum and Sculpture Garden

YouTube Channel:

hirshhornmuseum

EDAN-URL:

edanmdm:yt_DzLHN99jn_E

Creator:

Smithsonian American Art Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2014-11-26T15:30:25.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_lAH-SmHfSPw

Creator:

National Museum of Natural History  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2022-05-25T20:15:03.000Z

YouTube Category:

Education  Search this

Topic:

Natural History  Search this

See more by:

smithsonianNMNH

Data Source:

National Museum of Natural History

YouTube Channel:

smithsonianNMNH

EDAN-URL:

edanmdm:yt_lI1HpnSR71s

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

Lectures

YouTube Videos

Uploaded:

2021-10-25T16:16:41.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_8okAIJxirAk

Creator:

National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-08-31T20:28:05.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_ihzJi4CELSQ

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2022-02-04T21:07:05.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_pD5Aa1Uw6wg

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2023-01-19T07:29:57.000Z

YouTube Category:

Entertainment  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_23SXzH97wJQ

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2018-02-16T23:53:47.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_D0UBP8hNfLw

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2023-05-26T16:07:20.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_obFbRjMZEtg

Creator:

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

Type:

YouTube Videos

Uploaded:

2014-01-28T17:17:49.000Z

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_Doqs6ArAS44

Creator:

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

Type:

YouTube Videos

Uploaded:

2020-08-05T23:55:53.000Z

YouTube Category:

Entertainment  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_bYahGAwRWLk

Creator:

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

Type:

YouTube Videos

Uploaded:

2014-01-27T16:45:01.000Z

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_kPKO4nWB4aY

Creator:

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

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-05-10T01:27:54.000Z

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_m8a4FIWqKdE

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2014-05-14T16:17:22.000Z

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_ognZ5CYxSh8