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.
Collection Citation:
Barton Cummings Collection, 1938-1990, Archives Center, National Museum of American History.
All should agree that some of the criticism voiced by critics of advertising was justified, and a great deal enacted to protect the consumer did just that. But what started as a trickle became a cascade,and the costs often exceeded the benefit. The political tides have turned, and Congress has now enacted a veto over FTC rules and restricted its use of the "fairness" test. This is a good time to consider whether there is a more cost efficient way of meeting social goals by business means. Cites the ad industry self regulation program.
Collection Restrictions:
Collection is open for research.
Collection 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.
Collection Citation:
Barton Cummings Collection, 1938-1990, Archives Center, National Museum of American History.
Lists the achievements of his predecessor, Ed Bond, and cites eight problems ahead: Diversification; Consumerism; Media; People; Prompt Payment; Client Relations; Taxes; and Changing Nature of Agencies.
Collection Restrictions:
Collection is open for research.
Collection 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.
Collection Citation:
Barton Cummings Collection, 1938-1990, Archives Center, National Museum of American History.
He warns that the ultimate issue in the confrontation with consumerism may be the survival of the free enterprise system.
Collection Restrictions:
Collection is open for research.
Collection 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.
Collection Citation:
Barton Cummings Collection, 1938-1990, Archives Center, National Museum of American History.
Chronological files contain mostly photocopies and seem to have been compiled by Chernow to organize information in the process of writing the Christos' biography. Files are named by the year in the life of Christo and Jeanne-Claude that they document, and they typically contain a chronology of events compiled from the Christo's appointment books, partial copies of interview transcripts, excerpts of Chernow's draft typescripts of the biography, and copies of printed material relating to events from that year, both in the lives of Christo and Jeanne-Claude and world events generally. Copies of material pulled from other libraries and repositories is mixed with copies of material found elsewhere within the current collection throughout the series. When materials have been copied from other sources, the sources are often not cited. Certain sources have been copied with portions interspersed throughout this series, such as the PhD dissertation of Carline Bouihlet on Christo, entitled Christo : Dialectical Materialism and Artistic Consumerism, a manuscript with annotations in red pen that is not otherwise identified.
Among the chronological files are files for specific locations where the Christos lived or exhibited, files for the Christos' major art projects, and a single file for an individual, Peter Selz, found with the Running Fence file for 1976. The Peter Selz file is comprised entirely of photocopies made by Chernow from Selz's papers held at the Archives of American Art. Files bearing project names contain press coverage and documentation relating to the projects, such as engineering records, budgets, and travel schedules. These files are found with the date the project was executed. A file for Surrounded Islands (1983) contains the most primary documents of the project-related chronological files. Other notable documents in this series include Italian translations of reviews of Christo's 1963 exhibition in Milan and a photocopy of Christo's 1963 issue of the arts journal KWY.
A complete set of photocopies of this series, made by Ann Chernow for Wolfgang Volz to aid his writing of the biography's epilogue, was discarded during processing.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Burt Chernow papers, 1930-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.
National Museum of American History (U.S.) Search this
Container:
Box 1, Folder 4
Box 1, Folder 8
Type:
Archival materials
Audio
Date:
2001-03-30
Scope and Contents:
This interview with five of the ten collectors present at the event was conducted by Smithsonian's National Museum of American History staff Nanci Edwards and Paula Johnson on March 30, 2001. (1 of 2) Partial transcription and abstract by Cindy Ott.
Abstract
Over the weekend of March 30-31, 2001 the Stag's Leap Wine Cellars organized a wine tasting to commemorate the 25th anniversary of the "Paris Tasting," in which American wines stunningly upstaged European vintages in a blind tasting by experts in the field. Participants of the 2001 event included some of the top American wine collectors. Coming from a broad range of professions, including dentistry, international business, and the movie industry, the group was brought together by their passion for wines and their reputation as collectors. The ten individuals were selected by Dennis Foley, participant and wine auctioneer, who stated that he chose people he knew who lived in different parts of the country.
Among the myriad of weekend activities, which included the tasting of contemporary wines donated by producers as well as wines from the "classic" period in California winemaking, dating from1933 to1985, donated by the collectors themselves, were interviews conducted by Smithsonian staff. They form a part of the National Museum of American History's project to document the history and culture of American wine. The interviews were held at the Culinary Institute of America's Greystone campus at St. Helena, California in Napa Valley, the site of most of the weekend activities. The collectors were divided into two groups of five. This group included the collectors Dennis Foley, Tom Black, Keith Browning, Dr. Steven Mandy, and James Orr. Ron Kuhn, who participated in the event as a winning bidder of the SLWC lot at the 2000 Napa Valley Wine Auction, sat in on the second part of the discussion. A short biography of each participant is provided in one of the event booklets that form part of this sub-collection. The fact that only men were among the collectors is a reflection of the nature of the business, which is currently almost solely a male domain. Smithsonian curator Paula Johnson and museum project manager Nanci Edwards led these interviews.
The discussions, spurred by questions posed by the Smithsonian staff, centered around the origins, intentions and styles of the participants' wine collections and collecting habits. Topics addressed include forms of documentation used to track their holdings, acquisition and storage methods, and the most significant bottles in their collections. The groups also raised issues relating more broadly to the wine industry, including the influence of wine critics (which one participant refers to as "wine critic's fascism"), the importance of wine's heritage and history, the effects of re-corking older wines, the social and gender aspects of wine collecting, the impact of terroirs, the differences between old and current wines (especially in regard to the New World "fruit bombs"), and the relationship between American wines and national identity. The conversations provide insights into patterns of American consumerism, recreation, and product marketing.
Collection Restrictions:
Collection is open for research.
Collection 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.
Collection Citation:
American Wine Documentation Project, 1976-2002, Archives Center, National Museum of American History.
National Museum of American History (U.S.) Search this
Extent:
2 Copies (derivative objects)
Container:
Box 1, Folder 5, Item 817.1
Type:
Archival materials
Copies (derivative objects)
Date:
2001 March 30
Scope and Contents:
This interview with five of the ten collectors present at the event was conducted by Smithsonian's National Museum of American History staff Rayna Green and John Fleckner on March 30, 2001. (2 of 2) Partial transcription and abstract by Cindy Ott.
Abstract
Over the weekend of March 30-31, 2001 the Stag's Leap Wine Cellars organized a wine tasting to commemorate the 25th anniversary of the "Paris Tasting," in which American wines stunningly upstaged European vintages in a blind tasting by experts in the field. Participants of the 2001 event included some of the top American wine collectors. Coming from a broad range of professions, including dentistry, international business, and the movie industry, the group was brought together by their passion for wines and their reputation as collectors. The ten individuals were selected by Dennis Foley, participant and wine auctioneer, who stated that he chose people he knew who lived in different parts of the country.
Among the myriad of weekend activities, which included the tasting of contemporary wines donated by producers as well as wines from the "classic" period in California winemaking, dating from1933 to1985, donated by the collectors themselves, were interviews conducted by Smithsonian staff. They form a part of the National Museum of American History's project to document the history and culture of American wine. The interviews were held at the Culinary Institute of America's Greystone campus at St. Helena, California in Napa Valley, the site of most of the weekend activities. The collectors were divided into two groups of five. This group included the collectors Stephen Kaplan, Frank Komorowski, Ron Light, George Linton, and Stan Winston. Ron Kuhn, who participated in the event as a winning bidder of the SLWC lot at the 2000 Napa Valley Wine Auction, sat in on the first part of the discussion. A short biography of each participant is provided in one of the event booklets that form part of this sub-collection. The fact that only men were among the collectors is a reflection of the nature of the business, which is currently almost solely a male domain. Smithsonian curator Rayna Green and archivist John Fleckner led these interviews.
The discussions, spurred by questions posed by the Smithsonian staff, centered around the origins, intentions and styles of the participants' wine collections and collecting habits. Topics addressed include forms of documentation used to track their holdings, acquisition and storage methods, and the most significant bottles in their collections. The groups also raised issues relating more broadly to the wine industry, including the influence of wine critics (which one participant refers to as "wine critic's fascism"), the importance of wine's heritage and history, the effects of re-corking older wines, the social and gender aspects of wine collecting, the impact of terroirs, the differences between old and current wines (especially in regard to the New World "fruit bombs"), and the relationship between American wines and national identity. The conversations provide insights into patterns of American consumerism, recreation, and product marketing.
Collection Restrictions:
Collection is open for research.
Collection 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.
Collection Citation:
American Wine Documentation Project, 1976-2002, Archives Center, National Museum of American History.
Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Folk and Traditional Arts Program of the National Endowment for the Arts (NEA) joined with the Smithsonian to present the 1994 program on "Masters of Traditional Arts". The Festival program offered an opportunity for retrospection - a look at many of the artists and traditions recognized over the years through the National Heritage Fellowships, a grant program of the National Endowment for the Arts. At the same time, it was an occasion for introspection - a close-up, reflexive view of the National Heritage Fellowships, re-examining their purpose, listening to the insights of the Fellows themselves, and talking with those who conceive and plan such awards.
Each year a small number of artists - a dozen or so - are selected by the NEA to receive a fellowship (amounting to $10,000 in 1994) in recognition of their artistic excellence and their contributions to our nation's cultural life. The National Heritage Fellowships try to strike a balance between recognizing outstanding individuals and ensembles and celebrating the collective achievements of their traditions and cultural groups. These awards are announced each spring through a national press release that is disseminated widely, with particular attention given to the artists' home communities and cultural networks. In the fall, Fellows come to Washington for several days of celebratory and honoring events. They receive award certificates in a lively, congressionally-sponsored presentation on Capitol Hill. They perform at a free concert hosted by a national celebrity known for the breadth of his or her work with American cultures.
Joy and excitement run high during this time, but in more private and informal moments, these representatives of our nation's diverse cultural heritage inevitably turn their thoughts toward more serious matters. This is an all-too-rare occasion for the culturally and geographically distant tradition bearers to exchange views and encourage one another. Their eloquent, insightful, personal statements transcend cultural boundaries and map common cultural concerns. Some are striking tributes to the courage and individual determination it often takes to continue local traditions in a world increasingly driven by consumerism and pop culture. Others are testimonies to the vital role of traditional arts in cultural survival and self-determination. Together the National Heritage Fellows reveal the special beauty and deep meaning that the traditional arts hold for those who understand them, as well as the importance of multiculturalism to the nation.
The 1994 Festival program offered Festival visitors the opportunity to eavesdrop on - and participate in - such conversations, as Fellows from the program's first 13 years held a reunion on the National Mall. In workshops and discussion sessions, they spoke of their experiences maintaining their traditions within their communities, and the encouragement that was manifested in the Heritage Fellowship. And they demonstrated their crafts and performed their music and dance for the delight of Festival audiences.
Marjorie Hunt was Curator and Arlene Reiniger was Program Coordinator; Bess Lomax Hawes served as Consultant. Collaborators from the National Endowment for the Arts Folk & Traditional Arts Program were Daniel Sheehy (Director), Barry Bergey, Norma Cantú, Terry Liu, Pat Makell, Rose Morgan, Pat Sanders.
Masters of Traditional Arts was made possible with the collaboration of the National Endowment for the Arts Folk & Traditional Arts Program, with support from The Recording Industries Music Performance Trust Funds.
Presenters:
JoAllyn Archambault, Betty Belanus, Barry Bergey, Paddy Bowman, Norma Cantú, Anna Chairetakis, Walter Murray Chiesa, Amy Chin, Andrew Connors, Gladys-Marie Fry, Bess Lomax Hawes, Marjorie Hunt, Rita Moonsammy, Ann Rynearson, Howard Sacks, Daniel Sheehy, Amy Skillman, Nick Spitzer, Craig Stinson, Joe Wilson
Participants:
CRAFTS
Juan Alindato, 1925-, Puerto Rican mask maker, Ponce, Puerto Rico
Natividad Cano y Los Camperos, -- Mexican American mariachi music -- Natividad Cano y Los Camperos, Mexican American mariachi musicJose Arellano, guitarron, Los Angeles, CaliforniaNatividad Cano, 1933-, director, guitar, vihuela (five-string guitar), Los Angeles, CaliforniaLuis Fuentes Damian, vihuela, Pica Rivera, CaliforniaJesus Guzman, trumpet, Los Angeles, CaliforniaIsmael Hernandez, violin, Los Angeles, CaliforniaSalvador Hernandez, trumpet, Los Angeles, CaliforniaJuan Morales, harp, Phoenix, ArizonaJuan Rodriguez, violin, Los Angeles, California
Chinese Music
Liang-xing Tang, 1948-, pipa (lute), Bayside, New York
Jennifer Tang, pipa (lute), Bayside, New York
Jessica Tang, pipa (lute) Bayside, New York
Jack Coen & Friends, -- Irish traditional music -- Jack Coen & Friends, Irish traditional musicCharles Coen, 1934-, concertina, Red Hook, New YorkJack Coen, flute, Bronx, New YorkJames Coen, guitar, Bronx, New YorkWillie Kelly, fiddle, Parsippany, New JerseyRegan Wick, step dancer, Washington, D.C.Jesse Winch, bodhran (Irish drum), Silver Spring, Maryland
The DeFranco Family with Frank Cofone, -- Southern Italian music & dance -- The DeFranco Family with Frank Cofone, Southern Italian music & danceFrank Cofone, tambourine, vocals, Belleville, New JerseyFaust DeFranco, triccaballacca (clappers), Belleville, New JerseyGiuseppe DeFranco, 1933-, organetto (button accordion), ciaramella (wood oboe), zampogna (bagpipes), Belleville, New JerseyRaffaela DeFranco, 1935-, vocals, dance, Belleville, New Jersey
Fairfield Four, -- a cappella gospel music -- Fairfield Four, a cappella gospel musicIsaac Freeman, Nashville, TennesseeRobert Hamlett, Nashville, TennesseeJames Hill, 1915-2000, Nashville, TennesseeWalter Settles, 1928-1999, Nashville, TennesseeWilson Waters, 1931-2005, Nashville, Tennessee
Richard Hagopian & Ensemble, -- Armenian music -- Richard Hagopian & Ensemble, Armenian musicHarold Hagopian, kanun (zither), Brooklyn, New YorkRichard Avedis Hagopian, 1937-, oud (lute), Visalia, CaliforniaHagop Jack Zarzatian, Jr., dumbeg (Armenian drum), Hudson, New Hampshire
Valerio Longoria y su Conjunto, -- Mexican-American conjunto music -- Valerio Longoria y su Conjunto, Mexican-American conjunto musicKent Bearry, drums, San Antonio, TexasFlavio Guillen, bass guitar, San Antonio, TexasValerio Longoria, 1924-, accordion, San Antonio, TexasValerio Longoria, III, guitar, San Antonio, Texas
Piedmont blues
John Cephas, guitar, vocals, Woodford, Virginia
Phil Wiggins, harmonica, Washington, D.C.
James Jackson, guitar, Fairfax Station, Virginia
John Jackson, 1924-2002-, guitar, vocals, Fairfax Station, Virginia
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
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.
Collection Citation:
Smithsonian Folklife Festival records: 1994 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
