Railroad Station Historical Society (Crete, Neb.) Search this
Extent:
2.25 Cubic feet (7 boxes)
Type:
Collection descriptions
Archival materials
Black-and-white negatives
Correspondence
Newsletters
Photographs
Photonegatives
Picture postcards
Slides
Date:
1856-2004
Summary:
Collection documents railroad stations primarily in the United States but also includes stations in other countries.
Content Description:
Collection consists of archives photographs, photonegatives, photoprints and slides of railroad stations primarily in the United States but also in other countries such as Australia, Canada, Denmark, Italy, and England.
Arrangement:
Collection is arranged into four series.
Series 1: The Bulletin, 1968-2004
Series 2: Railroad Station Monographs,1970-2000
Series 3: Article, Publications and Writings, 1910-1996
Series 4: Photographs, 1856-1988
Provenance:
Collected and donated by the Railroad Station Historical Society, undated.
Restrictions:
Collection is open for research. Unprotected photographs and negatives must be handled with gloves.
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.
The papers of Matthew Shepard (1976-1998) a gay man who was a victim of a hate crime in Laramie, Wyoming October 1998 resulting in his death. His death gained national and international attention leading to the formation of the Matthew Shepard Foundation and eventual passage of federal hate crime legislation (The Matthew Shepard and James Byrd, Jr. Hate Crimes Prevention Act), signed into law in October 2009.
Content Description:
Papers relating to the life of Matthew Shepard, his beating, death, and its aftermath, leading to the passage of anti-hate crime legislation named for him and James Byrd, Jr. The papers include items from Shepard's early life, his school life, elementary through college, and personal material. The collection includes material from his recycling campaign. It also includes items from theater productions in which he participated. There is correspondence both written and received as well as notebooks and his passports. Travel and general ephemera are also included.
The papers related to the aftermath of his beating and death include funeral memorabilia, programs, flower cards, and photographs of floral arrangements. The bulk of the material consists of condolence cards and letters, expressions of sympathy and condolence, and material from memorial events thoughout the United States. These include not only written correspondence, but graphic and artistic tributes (drawings, poetry, screenplays, and musical compositions.)
There are screenplays, correspondence, and photographs relating to the television motion pictures, Anatomy of a Hate Crime (2001) and The Matthew Shepard Story (2002) starring Stockard Channing, Sam Waterston, and Shane Meier.
The papers have been utilized prior to their donation to the Archives, National Museum of American History by filmmaker Michele Josue and Zeina Barkawi for the award winning documentary, Matt Shepard Is A Friend of Mine (2015). The material was also researched by representatives of Ford's Theater, Washington, DC when Ford's mounted a production of Moises Kaufman's The Laramie Project in 2013.
Arrangement:
The collection is arranged in three series.
Series 1, Shepard, Matthew, Personal Papers, 1976-2018, undated
Subseries 1.1: Education and Schooling, 1981-1998, undated
Subseries 1.4: Assorted Papers and Ephemera, 1976-1999,undated
Subseries 1.5: Funeral and Celebration of Life, Estate, 1998 October-2018 October 26
Series 2, Shepard Family and The Matthew Shepard Foundation, Papers and Correspondence Received, 1998-2013, undated
Subseries 2.1: Papers, 1998-2003, undated
Subseries 2.2: Correspondence Received, 1998 October-2009 September
Series 3, Tribute, Vigil, Memorial Services, Memorabilia, and Inspired Works, 1998-2008, undated
Subseries 3.1: Tribute, Vigil, and Memorial Services, 1998, undated
Subseries 3.2: Memorabilia and Inspired Works,1973-2008, undated
Subseries 3.3: Anatomy of a Hate Crime, 1999-2001
Subseries 3.4: The Matthew Shepard Story, 1999-2004, undated
Biographical / Historical:
The life and death of Matthew Shepard have been documented in numerous biographies, motion pictures, and newsprint.
Matthew Wayne Shepard was born on December 1, 1976 in Casper, Wyoming to Judy Peck and Dennis Wayne Shepard. Shepard's early life was spent in Casper, where he attended elementary school, junior high, and high school till the tenth grade. While living in Casper, he participated in local productions at theater companies based in Casper. One of his school projects involved bringing awareness to recycling. He was so successful that he was appointed as the young adult representative to the governor's initiaive on state-wide recycling. In his junior year of high school, Shepard left Casper to attend The American School in Switzerland (TASIS). At that time his mother Judy and younger brother Logan joined Dennis Shepard in Saudi Arabia where Dennis was employed by SAUDI ARAMCO.
While attending TASIS on a school trip to Morocco Shepard was raped by one or more unknown assailants. Although the crime was reported, the perpetrators were never apprehended. This emotional and physical trauma stayed with Shepard the remainder of his life. After graduation from TASIS, Shepard briefly attended Catawba College in Salisbury, North Carolina. After leaving Catawba he moved to Raleigh, North Carolina, and then returned to Casper, where he enrolled in Casper College, the local community college. He briefly moved to Denver, Colorado, before deciding to enter the Universty of Wyoming in Laramie, his parents' alma mater. He was admitted for the 1998-1999 school year to the University of Wyoming.
It was while living in Laramie on the evening of October 6, 1998 that Shepard crossed paths with Aaron McKinney and Russell Henderson at the Fireside Lounge. McKinney and Henderson later drove him to a location outside Laramie, where they tied Shepard to a split-rail fence, robbed, and beat him senseless with the butt of a Smith & Wesson .357 Magnum revolver. After beating him they stole his shoes and left him in the near-freezing temperatures.
Shepard was discovered 18 hours later by Aaron Kreifels. He was first transported to Ivinson Hospital in Laramie, and upon the discovery of the severity of his injuries he was transferred to the Poudre Valley Hospital in Fort Collins, Colorado. His parents immediately flew from Saudi Arabia and were with him when he died in the early morning hours of October 12, 1998.
McKinney and Henderson were arrested and charged. They maintained what is known as a "gay panic defense" claiming Shepard had made sexual overtures to one or both of them. This was ultimately not allowed. Henderson pleaded guilty to the charges of felony murder and kidnapping. McKinney went to trial also facing charges of felony murder and kidnapping. When found guilty, McKinney faced the possibility of the death penalty, but upon the Shepard family's request he received two consecutive life sentences, as had Henderson.
The death of Matthew on October 12, 1998 resulted in an unprecedented national and international outpouring of sympathy and reflection from the public at large. Cards, letters, and donations to what became the Matthew Shepard Foundation were received from not only the United States but the world. The response was overwhelming, many writing, "to express their concern and sorrow about what had happened to Matt and to us as his parents," in the words of Dennis Shepard. Shepard's Celebration of Life was held at the family's home church, St. Mark's Episcopal, in Casper, Wyoming. Fred Phelps and the Westboro Baptist Church picketed the funeral.
Over a ten-year period, Judy Shepard and the Matthew Shepard Foundation fought for national hate crime legislation. It was not until 2009 that Congress passed The Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act, also known as the Matthew Shepard Act, on October 22. President Barack Obama signed the act into law on October 28. The Foundation continues to this day bringing good from evil, empowering individuals, ". . . to embrace human dignity and diversity through outreach, advocacy and resource programs," and, ". . . to replace hate with understanding, compassion and acceptance."
Shepard's ashes were inurned at the Washington National Cathedral in October 2018.
Source
Shepard, Judy. The Meaning of Matthew, My Son's Murder in Laramie and a World Transformed. New York, New York: Hudson Street Press, 2009.
Matthew Shepard Papers, Archives Center, National Museum of American History, Smithsonian Institution.
St. Mark's Episcopal Church website: http://stmarks.diowy.org/ accessed August 2018.
Matthew Shepard Foundation website: https://www.matthewshepard.org/ accessed August 2018.
Separated Materials:
Objects relating to Matthew Shepard are held in the Division of Medicine and Science.
Provenance:
Collection donated by Dennis and Judy Shepard in 2018.
Restrictions:
Collection is open for research.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility. 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:
Kevin MacDonald papers, 1958-2006. Archives of American Art, Smithsonian Institution.
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials. The 2015 addition of 14 linear feet consists of inventory and client sales records in the form of card indexes. The 2019 addition consists of material related to Marilyn Fischbach's art collection.
Scope and Content Note:
The records of New York City Fischbach Gallery measure 39.5 linear feet and date from 1937 to 2015, with the bulk of materials dating from 1963 to 1977. The majority of the collection consists of artists files containing a wide variety of materials documenting the gallery's relationship with its stable of modern and avant garde artists, as well as gallery exhibitions. Files include biographical materials, correspondence, printed materials, and photographs. Gallery records also include general business correspondence, access-restricted financial records; and additional printed materials.
Artists and Exhibition Files contain information on over one hundred Fischbach Gallery artists and measure 18 linear feet. The contents of each file varies, but typically may include biographical information; correspondence between the artist, museums, and other galleries; scattered consignment information; printed materials including articles, clippings, exhibition announcements and catalogs, and press releases; photographs of the artist, installations, constructions, and works of art; and negatives, slides, and transparencies. Substantial files are found for John Altoon, Stephen Antonakos, Ronald Bladen, Wynn Chamberlain, Allan D'Arcangelo, Gene Davis, Anne Dunn, Piero Gilardi, Eva Hesse, Alex Katz, Nicholas Krushenick, Les Levine, Robert Mangold, Doug Ohlson, Anne Ryan, Robert Ryman, Arlene Slavin, Tony Smith, George Sugarman, and Robert Swain, among others. Also included are files pertaining to group exhibitions including "According to the Letter" (1963), "Hard Center" (1963), "Six Women" (1965), "Game Without Rules" (1966), "Direct Representation" (1969), and "Eccentric Abstraction" (1966) which was organized by Lucy Lippard.
General gallery correspondence is business correspondence between the gallery and companies, individuals, museums, galleries, dealers, new or non-Fischbach artists, and institutions. Additional business records consist of an address book, lists of Fischbach artists, gallery plans, a notebook, as well as guest lists, mailing lists, and press lists.
Financial records are access restricted and require written permission from the donor's representative for use. The files document financial transactions for many of the artists represented in the artists files and includes sales records, invoices, artists' payments, and correspondence about sales and possible sales. The alphabetical financial files document routine gallery business, such as framing, shipping, insurance, messenger, publicity, etc. and are organized by name of business. General financial files consist of accounting ledgers, banking documents, insurance claims, and travel accounts.
Printed materials consist of various business cards, clippings concerning the Fischbach Gallery, and a pamphlet by Ron Williams as a guide to New York galleries. The bulk of printed materials are found in the Artists and Exhibition Files.
A small series of photographs include those from the Thiabaut Gallery, and unidentified photos of landscapes. It is likely that Fischbach Gallery occupied the space previously used by the Thiabaut Gallery and some materials were included in the collection for that reason. The bulk of photographic materials are found in the Artists and Exhibition Files.
In 2015, 14 feet of records were added to the collection. The addition consists of inventory and client sales records in the form of card indexes. The addition is access-restricted until 2065.
A 2019 addition of 0.2 linear feet, consisting of material related to Marilyn Fischbach's art collection, was processed in 2020.
Arrangement:
The collection is arranged as 9 series.
Missing Title
Series 1: Artists and Exhibitions Files, 1937-1977 (Boxes 1-18, 28; 18 linear feet)
Series 2: Gallery Correspondence, 1962-1974 (Boxes 18-19; 1.75 linear feet)
Series 3: Business Records, 1969-1971 (Box 27; 0.3 linear feet)
Series 4: Financial Records, 1963-1975 (Boxes 20-25; 4.5 linear feet)
Series 5: Printed Material, 1963-1972 (Box 26; 6 folders)
Series 6: Photographs, circa 1960s (Box 26; 2 folders)
Series 7: Inventory Card Indexes, circa 1960s-2015 (12.1 linear feet; Box 29-41)
Series 8: Client Sales Card Index, circa 1970s-2000s (1.9 linear feet; Box 41-42)
Series 9: Marilyn Fischbach Collection Records, circa 1975-2000 (0.2 linear feet; Box 43)
Historical Note:
The Fischbach Gallery was founded in 1960 by Marilyn Cole Fischbach at 799 Madison Avenue in New York City. The gallery was noted for its stable of minimalist young artists in the 1960s, and the work of the painterly realists in the 1970s. The gallery remains open today.
During its early years, the gallery was among the first to focus on 1960s avant-garde and minimalist artists. Marilyn possessed a talent for discovering young artists and for helping them advance their careers. Many of these young artists became well-known, including Ronald Bladen, Eva Hesse, and Alex Katz. Other artists represented by the gallery include Allan D'Arcangelo, Les Levine, Robert Mangold, Robert Ryman, George Sugarman, and Robert Swain.
The gallery also had an active exhibition schedule and organized and hosted group exhibitions of modern art, including "According to the Letter" (1963), "Hard Center" (1963), and "Direct Representation" (1969). Additionally, the Fishbach Gallery hosted "Eccentric Abstraction" in 1966, an exhibition organized by Lucy Lippard.
Later, the gallery moved to W. 57th Street in Manhattan. Fischbach hired A. Aladar Marberger as director of the gallery. Under his direction, the Fischbach Gallery shifted from the avant-garde to contemporary American realism and minimalist sculpture. In the 1980s, Marilyn Fischbach brought three investors into the gallery. She remined a co-owner, but lived in Paris, France for many years prior to her death at the age of seventy-two. The Fischbach Gallery remains open at 210 West 11th Street at 25th Street in New York City.
Provenance:
Gallery founder Marilyn C. Fischbach and director A. Aladar Marberger donated the majority of the Fischbach Gallery records in 1978. Additional records were donated in 2001 by Maureen Dawley on behalf of the Carnegie Mellon University and in 2015 and in 2019 by John Fischbach, Marilyn C. Fischbach's son.
Restrictions:
Use of original papers requires an appointment. Written permission from the donor is also required to view the series of financial records and the 2015 addition of card indexes. Contact the Reference Services Department for more information.
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.
The Nancy Holt Estate records measure circa 57.8 linear feet and date from circa 1900-2014, with the bulk of the material dating from 1960-2000. The records include financial records, notebooks, project files including unrealized proposals, correspondence, calendars, and 9 linear feet of Holt's annotated library. Also included are the John Weber Gallery records concerning Robert Smithson that consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks, and incorporate some slides from the James Cohan Gallery. James Cohan worked for John Weber before establishing his own gallery in 2001.
Scope and Contents:
The Nancy Holt Estate records measure circa 57.8 linear feet and date from circa 1900-2014, with the bulk of the material dating from 1960-2000. The records include financial records, notebooks, project files including unrealized proposals, correspondence, calendars, and 9 linear feet of Holt's annotated library. Also included are the John Weber Gallery records concerning Robert Smithson that consist of the gallery's inventory and slide records of Robert Smithson's drawings and sculptures, including earthworks. The records incorporate some slides from the James Cohan Gallery (1999-), an art gallery in Manhattan, New York, which represents the estate of Robert Smithson.
Arrangement:
The Nancy Holt Estate records are arranged as 4 series.
Series 1: Project Files, circa 1900-2014, bulk 1970-2000 (12.8 linear feet; Boxes 3-10, OVs 11-31, RDs 32-39)
Series 2: Calendars and Notebooks, circa 1970s-2013 (2 linear feet; Boxes 40-42, OVs 43-44)
Series 3: John Weber Gallery Records Concerning Robert Smithson, circa 1960-circa 2001 (2 linear feet; Boxes 1-2)
Series 4: Unprocessed Papers, circa 1960s-circa 2014 (41 linear feet; Boxes 11-30, 34-38, 43-49, 53, 63-70, OVs 71-72)
Biographical / Historical:
Nancy Holt (1938-2014) was an environmental and installation artist, sculptor, filmmaker, and photographer, based in New York, New York. She was best known for her large-scale public land art installations including her seminal work Sun Tunnels (1973-1976) located in the Great Basin Desert, Utah. Her work engaged with the natural environment and the celestial realm, tracing the rotation of the earth and the movement of the sun and stars. Holt was also fascinated by mechanical systems such as those used for heating, drainage, and ventilation, and her functional sculptural installations explored the relationship between architecture and the built environment.
Holt was born in Worcester, Massachusetts, grew up in New Jersey, and graduated from Tufts University in 1960 with a degree in biology. She moved to New York City later that year where she met the artist Robert Smithson, to whom she was married from 1963 until Smithson's death in 1973.
Holt's landmark work Sun Tunnels was executed in 1973-1976 in Utah's Great Basin Desert, where Holt and Smithson had purchased surrounding land specifically to ensure an unimpeded view of the horizon. Holt went on to produce many site-specific outdoor works including 30 Below (1980), Dark Star Park (1984), Solar Rotary (1995), and Up and Under (1998). Her exploration of what she termed Systems Works included Catch Basin (1982), Flow Ace Heating (1985), and Spinwinder (1991).
Holt's photography was essential in the development of her ideas. In Missouri Ranch Locators: Vision Encompassed (1972) she used photography in her development of "seeing devices," creating eye-level steel pipes to direct viewers to a specific site in the surrounding landscape, and developing a concept that was central to Sun Tunnels and other works. Her book Ransacked, Aunt Ethel: An Ending (1980) documented through text and photographs the abuse and theft her aunt was subjected to at the end of her life. In Time Outs (1985) Holt used photographs of football games taken from a television screen to create a book born out of her childhood love of TV sporting events.
Holt's work can be found in the collections of major institutions including the Museum of Modern Art and the Whitney Museum of American Art in New York, the Utah Museum of Fine Arts, and the Museum für Gegenswartkunst, Germany. Her permanent installations can be found at public institutions including Miami University Art Museum, Southern Connecticut State University, University of Massachusetts, Dartmouth, Western Washington University, and University of South Florida.
In 2012 Nancy Holt was made a Chevalier of the of the Ordre des Arts et des Lettres by the French Government. In 2013 she was presented with a Lifetime Achievement Award by the International Sculpture Center in New York. Holt received five National Endowment for the Arts Fellowships, two New York Creative Artist Fellowships, a Guggenheim Fellowship, and an Honorary Doctorate from the University of South Florida, Tampa.
Holt lived in Galisteo, New Mexico, from 1995-2013. She died in New York City in 2014.
Related Materials:
The Archives of American Art also holds the Robert Smithson and Nancy Holt papers, an interview with Nancy Holt conducted 1992 July 6 by Scott Gutterman for the Archives of American Art, and an interview with Nancy Holt conducted 1993 August 3 by Joyce Pomeroy Schwartz for the Archives of American Art.
Provenance:
Bequest of Nancy Holt, 2014.
Restrictions:
The bulk of this collection is open for research. Subject files, boxes 18-30 in the inventory of the unprocessed portion of the collection, are currently closed for processing.
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Some papers remain closed to researchers including some rolled documents in the unprocessed papers, financial files, and Nancy Holt's annotated library of books.
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.
Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
Occupation:
Sculptors -- New York (State) -- New York Search this
Filmmakers -- New York (State) -- New York Search this
Environmental artists -- New York (State) -- New York Search this
Installation artists -- New York (State) -- New York Search this
Photographers -- New York (State) -- New York Search this
The papers of artist and educator John Marshall measure 2.1 linear feet and date from the 1960s to early 2000s. The collection sheds light on Marshall's career through professional files, photographs, and artwork. Professional files include resumes, awards and certificates, professional correspondence, some project files, printed material, two scrapbooks, and a film reel. Photographs consist of slides of Marshall's work and his artwork series, some of which depict Marshall working in his studio. Also found are transparencies of his work and exhibition displays; scant candid and portrait snapshots of the artist; and mounted photographs of his work. Artwork found in the collection is mostly design sketches of metalwork projects for jewlery, pots, cups, and silverware done in charcoal and pencil; and two paintings.
Scope and Contents:
The papers of artist and educator John Marshall measure 2.1 linear feet and date from the 1960s to early 2000s. The collection sheds light on Marshall's career through professional files, photographs, and artwork. Professional files include resumes, awards and certificates, professional correspondence, some project files, printed material, two scrapbooks, and a film reel. Photographs consist of slides of Marshall's work and his artwork series, some of which depict Marshall working in his studio. Also found are transparencies of his work and exhibition displays; scant candid and portrait snapshots of the artist; and mounted photographs of his work. Artwork found in the collection is mostly design sketches of metalwork projects for jewlery, pots, cups, and silverware done in charcoal and pencil; and two paintings.
Arrangement:
The collection is arranged as three series.
Series 1: Professional Files, 1967-2000s (Box 1, FC 9; .5 linear feet)
Series 2: Photographs, 1960s-2000s (Box 1-2, 4, OV 6; .7 linear feet)
Series 3: Artwork, circa 1970s-2000s (Box 5, OV 7-8; .8 linear feet)
Biographical / Historical:
John Marshall (1936- ) is a metalsmith and educator in Edmonds, Washington. Marshall was born in Pittsburgh, Pennsylvania in 1936. His interest in art began at approximately the fifth grade, when both he and his brother received scholarships to Saturday drawing classes at the Carnegie Museum. Marshall then entered into the U.S. Army following high school, for which he served primarily in Germany until 1957. Able to travel around during this time, Marshall became more interested in metalworking and other forms of art. After the military, Marshall returned to Pennsylvania to attend Grove City College and work construction, specifically pipelining. He ultimately transfered to Carnegie Tech (now part of Carnegie Melon University). In 1960 he began school at the Cleveland Institute of Art, learning from Kenneth Bates, John Paul Miller, and John Clague, and alongside Winifred Lutz. He received his B.F.A. from Cleveland in 1965.
Marshall received a teaching position as head of Syracuse University's metals program. Once there, Marshall worked with Laurence Schmeckebier to complete his M.F.A.; Schmeckbier was also instrumental in exhibiting Marshall's artwork at this time. Looking to establish himself as a metalsmith, he became associated with others in his field such as Olaf Skoogfors, Fred Fenster, and Stanley Lechtzin, and became involved with the Soceity of North American Goldsmiths. After his time in Syracuse, Marshall went to the University of Washington in 1970 where he remained for the rest of his teaching career.
Marshall has held one-man shows at the Lowe Art Center, Syracuse University, Henry Art Gallery, University of Washington, and Concepts Gallery in California; and has had his work featured in group shows at the Museum of Concemporary Crafts, Renwick Gallery, and the Laguna Art Museum. He has received many public and private commissions throughout his career to create trophies, cups, bowls, and sculptures, most notably a 16-foot sculpture for the United Methodist Church in Edmonds, Washington.
Provenance:
The collection was donated in 2004 by John Marshall as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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.
John Marshall papers, 1960s-2000s. Archives of American Art, Smithssonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
12.8 Linear feet (Boxes 3-10, OVs 11-31, RDs 32-39)
Type:
Archival materials
Date:
circa 1900-2014
bulk 1970-2000
Scope and Contents:
This series documents over 50 projects, including realized and unrealized projects, which Holt planned and/or executed from the early 1970s to the late 1990s. Project files may contain correspondence and memoranda with related studies and reports documenting any and all stages of a project; records of funding and expenses; Holt's proposals, conceptual drawings (primarily copies and blueprints), studies, plans, and photographic material including site photos, photos of Holt's models, and photos of finished projects; site planning records such as maps, engineering plans, and progress prints; and printed material related to projects including news clippings of publicity received and announcements and catalogs for project-related events.
Arrangement:
Project files are arranged as 3 subseries.
The bulk of the project files are arranged alphabetically by title in subseries 1.1, with documentation of untitled (unrealized) projects housed at the end of the subseries arranged alphabetically by location. Other project material in series 1.2 is arranged alphabetically by folder title. Although some photographic material can be found in subseries 1.1. additional sets of photos and slides originally housed together, rather than filed with individual projects, are housed in subseries 1.3.
1.1: Projects by Name, circa 1900-2014
1.2: Other Project Material, circa 1950s-2014
1.3: Project Photographic Material, circa 1970-2002
Collection Restrictions:
The bulk of this collection is open for research. Subject files, boxes 18-30 in the inventory of the unprocessed portion of the collection, are currently closed for processing.
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Some papers remain closed to researchers including some rolled documents in the unprocessed papers, financial files, and Nancy Holt's annotated library of books.
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.
Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
Collection Citation:
Nancy Holt Estate records, circa 1900-2014. Archives of American Art, Smithsonian Institution.
