Skip to main content Smithsonian Institution

Search Results

Collections Search Center
145 documents - page 1 of 8

Irene Rice Pereira papers, 1930-1972

Creator:
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Subject:
Davis, Charles H. (Charles Harold)  Search this
United States. Work Projects Administration  Search this
Design Laboratory (New York, N.Y.)  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8932
(DSI-AAA_SIRISBib)211118
AAA_collcode_pereiric
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211118

Irene Rice Pereira papers

Creator:
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Names:
Design Laboratory (New York, N.Y.)  Search this
United States. Work Projects Administration  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
Extent:
0.2 Linear feet ((on 11 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1930-1972
Scope and Contents:
Correspondence; writings and notes; scrapbooks; business material; biographical data; photographs; inventories; exhibition catalogs; and printed material.
REELS D222-D223: Manuscripts; notebooks entitled "Concepts of Substance" containing notes, essays, quotations, a diary, and reviews; scrapbooks; and publications.
REELS 1296-1302 & 1322(photos): Personal and business correspondence; notes and manuscripts of her many philosophical writings on light, space, and the infinite; poems by Pereira and by others; sales and loan receipts for her paintings; inventories of her paintings; paint formulas and technical data; biographical data; notes for the Design Laboratory of the WPA-Fine Arts Project; statements by her about her art and about the alleged suppression of her art by the Museum of Modern Art; exhibition catalogs; clippings; and photographs of her works and personal photos.
REEL 2395: Course outlines, an activity report, and printed material pertaining to the Design Laboratory school of industrial design in New York City. Also included are outlines, writings, and printed material pertaining to Pereira's lectures at Columbia University, the Brooklyn Museum, Smith College, the Artists League, the University of Michigan, and for the United American Artists.
REEL 3470: A letter to Juliet Gordon, New York City, October 15, 1969, protesting the denigration of women by -"a whole battalion of these American super artists," and condemning the Museum of Modern Art for devoutedly supporting their art. She writes, "Only when a society is expiring do such aberrations and betrayal of the female become the cultural mode."
Biographical / Historical:
Painter, writer, educator; New York, N.Y. Died 1971.
Provenance:
Material on reels D222-D223 lent for microfilming 1965 and material on reel 2395 donated 1965 by Irene Rice Pereira; material on reels 1296-1302, 1322 lent for microfilming, 1977 and reel 3470 donated 1978 by Djelloul Marbrook, nephew of Pereira.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women educators  Search this
Women painters  Search this
Identifier:
AAA.pereiric
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pereiric

Professional Files

Collection Creator:
Breeskin, Adelyn Dohme, 1896-1986  Search this
Extent:
0.4 Linear feet (Boxes 2-3)
Type:
Archival materials
Date:
1945-1984
Scope and Contents:
Professional files provide scattered documentation of Breeskin's career as a director, consultant, and teacher. They include notes, correspondence, and reports relating to Breeskin's work as a consultant to the National Collection of Fine Arts (later the National Museum of American Art); a letter, a memorandum, and a transcript of a news clipping briefly summarizing Breeskin's work as Commissioner of the American Pavilion at the 1960 Venice Biennale; correspondence, notes, and course outlines for an art appreciation course Breeskin taught at Johns Hopkins University in the late 1940s; a sound recording of a lecture delivered by Ilya Bolotowsky and introduced by Breeskin at the National Museum of American Art; and correspondence and other documentation relating to arrangements for travel by Breeskin in the USA and abroad, generally related to speaking engagements and participation in art juries.
Collection 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.
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:
Adelyn Dohme Breeskin papers, circa 1934-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breeadel, Series 4
See more items in:
Adelyne Dohme Breeskin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-breeadel-ref82

Course outline

Collection Creator:
Turner, Lorenzo Dow, 1890-1972  Search this
Container:
Box 10, Folder 25-29
Type:
Archival materials
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Citation:
Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.
See more items in:
Lorenzo Dow Turner Papers
Lorenzo Dow Turner Papers / Series 2: Academic Career / 2.5: Y.M.C.A
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-06-017-ref382

Course outline, Roosevelt University

Collection Creator:
Turner, Lorenzo Dow, 1890-1972  Search this
Container:
Box 7, Folder 6
Type:
Archival materials
Text
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Citation:
Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.
See more items in:
Lorenzo Dow Turner Papers
Lorenzo Dow Turner Papers / Series 2: Academic Career / 2.3: Roosevelt University
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-06-017-ref243

Alice Baber papers, 1934-1983

Creator:
Baber, Alice, 1928-1982  Search this
Baber, Alice, 1928-1982  Search this
Type:
Scrapbooks
Interviews
Photographic slides
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Theme:
Women  Search this
Art Materials, Techniques, and Studio Art Education  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)5831
(DSI-AAA_SIRISBib)208671
AAA_collcode_babealic
Theme:
Women
Art Materials, Techniques, and Studio Art Education
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208671

Alice Baber papers

Creator:
Baber, Alice  Search this
Extent:
3.6 Linear feet ((ca. 120 items))
Type:
Collection descriptions
Archival materials
Scrapbooks
Interviews
Photographic slides
Date:
1934-1983
Scope and Contents:
Reels 4030-4032 A passport, 1951; 5 biographical accounts; 2 lists of exhibitions; correspondence, 1958-1983; the will of Dexter Baber; an inventory of possessions; income tax returns; loan applications; price lists, 1966-1981; contracts, 1968-1980; consignment agreements, 1976-1981; miscellaneous business records, 1962-1982; notes on poetry; notebooks from classes on religion and writing; course outlines, 1972; notes on color forum, 1972; notes for "Age of Color" article; essays by Baber on Paul Jenkins, on color, and on organic found form; writings about Baber; reviews of Baber's work, 1963-1975;
a scrapbook of printed material, 1973-1978; clippings, 1957-1983; press releases, 1963-1978; exhibition announcements and catalogues, 1958-1983; reproductions of works of art; articles "Women Artists on Tenth Street," by Nancy Ungar, "Conference of Women in the Visual Arts," 1972, and "Report on the Status of Faculty Women at the University of Colorado at Colorado Springs," 1972; manuscript "Index for Nancy Hanks - Undistinguished Families" by Adin Baber; miscellaneous printed material, 1965-1978;
interview transcripts, "Reminiscences of the Tenth Street Days," with Charles Cajori and Lois Dodd, "American Women and Social Change - Women in Politics" with Mary Lou Burg, Jeane J. Kirkpatrick, and Patricia Lindh, "American Women and the Spirit of '76 - Women and Political Office" with Rita Hauser, and Magda Bleier, and "Women and the Law" with Marguerite Rawalt, Susan Ross, and Ruth Osborn;
photographs of Baber, 1957-1977, her family, Baber with Paul Jenkins, 1965, Baber participating in panel discussions and in the Professional Women Artists Project in Central Park, exhibition openings, installations, and of works of art and quilts;
Unfilmed material: untranscribed audio tape of a 1972 interview with Karl Fortess for the Archives of American Art; audio dub of a 1974 television program "Woman: the Artist," with Barbara Braathen; six video 1/2" video reels from "Funtioning in the Art World," 1977, with Sari Diemes, Isabel Bishop, C. Von Wiegand, Lil Picard, M. Citron, and Alice Neel; 61 slides of works of art; thirteen slides of a demonstration march; and twelve slides of a house.
Biographical / Historical:
Painter and printmaker; b. 1928, d. 1982.
Provenance:
Donated 1979-1985 by Alice Baber and Norbert Nelson.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Printmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Genre/Form:
Scrapbooks
Interviews
Photographic slides
Identifier:
AAA.babealic
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-babealic

Teaching and Project Files

Collection Creator:
Arquin, Florence  Search this
Extent:
1.4 Linear feet (Box 4-5)
Type:
Archival materials
Date:
1930-1963
Scope and Contents:
Found are materials relating to Florence Arquin's work teaching at the School of Art Institute of Chicago; her earlier work at the Art Institute's Department of Education with the Federal Art Project; and the Kodachrome Slide Project. Teaching files are scattered and include student papers, course outlines, and a lecture. The Art Institute of Chicago, Department of Education materials include plans, proposals and reports relating to outreach in high schools. Reports include some photographs of exhibitions. Kodachrome Slide Project materials include correspondence, receipts, reports, educational material or teaching guides, drafts of slide sequences, and printed material.
Collection Restrictions:
The Florence Arquin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
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:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.arquflor, Series 4
See more items in:
Florence Arquin papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-arquflor-ref107

Course Outlines

Collection Creator:
Arquin, Florence  Search this
Container:
Box 4, Folder 15-17
Type:
Archival materials
Date:
1934-circa 1940
Collection Restrictions:
The Florence Arquin papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
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:
Florence Arquin papers, 1923-1985. Archives of American Art, Smithsonian Institution.
See more items in:
Florence Arquin papers
Florence Arquin papers / Series 4: Teaching and Project Files / 4.1: Teaching Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-arquflor-ref111
Online Media:

George Cohen papers, 1943-1980

Creator:
Cohen, George, 1913-1980  Search this
Cohen, George, 1913-1980  Search this
Subject:
Chaet, Bernard  Search this
Aronson, David  Search this
Hodgson, Joseph  Search this
Kupferman, Lawrence Edward  Search this
Caro, Anthony  Search this
Type:
Interviews
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)7481
(DSI-AAA_SIRISBib)209639
AAA_collcode_cohegeor
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209639

George Cohen papers

Creator:
Cohen, George, 1913-1980  Search this
Names:
Aronson, David, 1923-2015  Search this
Caro, Anthony, 1924-  Search this
Chaet, Bernard  Search this
Hodgson, Joseph  Search this
Kupferman, Lawrence Edward, 1909-1982  Search this
Extent:
1.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1943-1980
Summary:
The papers of George Cohen measure 1.8 linear feet and date between 1943 and 1980. The papers document his career as a painter and educator through correspondence; lectures, course outlines and notes, four audio reel interviews on teaching art, and other teaching files; a resume, financial records, exhibition documents with galleries, and other professional activity; clippings, exhibition catalogs, magazine contributions, and other printed material; and photographs of artwork, Cohen in his studio, and Cohen teaching.
Scope and Contents:
The papers of George Cohen measure 1.8 linear feet and date between 1943 and 1980. Materials include a resume; correspondence with Anthony Caro and others; manuscripts for radio broadcast series, "This is Jazz, A People's Music"; price lists for works of art; financial material; subject files of exhibition material, gallery correspondence and his teaching materials for classes on film and art; exhibition catalogs and announcements; press releases; clippings; photographs and slides of Cohen and his art; three 16mm motion pictures including an interview with Cohen, "Richard Hunt--Welding Sculpture" and "Artist and Fabricator"; and taped interviews with David Aronson, Lawrence Kupferman, Joseph Hodgson and Bernard Chaet.
Arrangement:
The collection is arranged into five series.

Series 1: Correspondence, 1943-1980 (0.1 linear feet; Box 1)

Series 2: Teaching Files, 1948-1979 (0.3 linear feet; Box 1)

Series 3: Professional Activity, 1957-1976 (0.5 linear feet; Box 1, FC 4-6)

Series 4: Printed Material, 1945-1980 (0.6 linear feet; Boxes 1-2)

Series 5: Photographs, 1947-1977 (0.3 linear feet; Box 2, OV 3)
Biographical / Historical:
H. George Cohen (1913-1980) was a painter and educator in Massachusetts. Cohen was born in Worcester, Massachusetts in 1913. He attended the Worcester Art Museum School and the Institute of Design, Chicago, Illinois. Cohen taught art and film classes at Smith College between 1942 and 1980. Cohen participated in numerous exhibition in the New England area from the late 1940s through the 1970s.
Provenance:
The George Cohen papers were donated to the archives in 1982 by Lois Jean Cohen, widow of George Cohen.
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.
Occupation:
Educators -- Massachusetts  Search this
Painters -- Massachusetts  Search this
Genre/Form:
Interviews
Citation:
George Cohen papers, 1943-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cohegeor
See more items in:
George Cohen papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cohegeor

Chicago Institute of Design Course Outline

Collection Creator:
Cohen, George, 1913-1980  Search this
Container:
Box 1, Folder 34
Type:
Archival materials
Date:
1949
Collection 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.
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:
George Cohen papers, 1943-1980. Archives of American Art, Smithsonian Institution.
See more items in:
George Cohen papers
George Cohen papers / Series 4: Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cohegeor-ref46

Course Outlines/Objectives

Collection Creator:
National Congress of American Indians  Search this
Container:
Box 337
Type:
Archival materials
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Collection Title, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
National Congress of American Indians records
National Congress of American Indians records / Series 6: NCAI Committees and Special Issues Files / 6.18: Self-Determination and Eduation / NCAI's Tribal Government Studies Program
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_component:sova-nmai-ac-010-ref4116

Tomás Ybarra-Frausto research material

Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Names:
Mexican Museum  Search this
Royal Chicano Air Force  Search this
Studio 24 (San Francisco, Calif.)  Search this
Garza, Carmen Lomas  Search this
Goldman, Shifra M., 1926-2011  Search this
Mesa-Bains, Amalia  Search this
Extent:
33.1 Linear feet
1.27 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Slides (photographs)
Interviews
Place:
Mexico -- Religious life and customs
Date:
1965-2004
Summary:
The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.
Scope and Content Note:
The research material of Tomás Ybarra-Frausto, amassed throughout his long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States. As community leader and scholar, Ybarra-Frausto played dual roles of active participant and historian in the Chicano movement, chronicling this unique political and artistic movement from its inception in the 1960s to the present day.

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

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

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

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

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

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

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

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

Henry C. Estrada

Research Fellow, 1997.
Arrangement:
The collection is arranged as a single series of subject files. The general contents of each folder have been listed. The subject files are arranged in alphabetical order. While no two files are alike, they may contain résumés, printed and digital material, letters, draft writings, and photographs. Unless otherwise noted, each listing represents one file folder. The abbreviation TYF was used to refer to the name Tomá Ybarra-Frausto throughtout the Series Description.
Autobiographical Note:
Papelitos (little bits of paper), whether rent receipts, paid bills, or piles of personal letters, can become layered bundles of personal history. I have always been a pepenador (a scavenger) and saver of paper scraps. Diary notes, scribbled annotations, and first drafts are often useful indicators of ideas and gestation. Papelitos are the fragments of every-day life that gain expanded meaning integrated into the larger historical events of a period.

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

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

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

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

Dr. Tomás Ybarra-Frausto

New York City, 1998
Related Materials:
Tomás Ybarra-Frausto Papers are located at University of Texas Libraries, The University of Texas at Austin.
Provenance:
The collection was donated to the Archives of American Art by Tomás Ybarra-Frausto in 1997, and in 2004.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Santos (Art)  Search this
Household shrines -- Mexico  Search this
Chicano art  Search this
Chicano artists  Search this
Mexican American art  Search this
Mexican American artists  Search this
Latino and Latin American artists  Search this
Genre/Form:
Photographs
Slides (photographs)
Interviews
Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ybartoma
See more items in:
Tomás Ybarra-Frausto research material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ybartoma
Online Media:

Los Four (see also: Almaraz, Carlos; de la Roche, Roberto; Hernandez, Judithe; Luján, Gilbert Sánchez - "Magu"; and Romero, Frank),

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Container:
Box 16, Folder 6
Type:
Archival materials
Date:
1973, 1974, undated
Scope and Contents note:
(collaborative group consisting of Carlos Almaraz, Gilbert Luján, Roberto de la Roche, and Frank Romano; catalog; list of collective works; press resleases; Gilbert Luján course outline, Cultural Studies 20; clippings; exhibition announcement)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref1022

Borasky: Electronoscope Analysis Course Outline, C. 1966

Collection Creator:
Borasky, Rubin, 1910-1988  Search this
Schaeffer, Asa Arthur  Search this
Borasky, Charlotte S., Mrs.  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
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:
Rubin Borasky Microscopy Collection, 1930-1988, Archives Center, National Museum of American History.
See more items in:
Rubin Borasky Electron Microscopy Collection
Rubin Borasky Electron Microscopy Collection / Series 1: Personal
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0452-ref14

Refrigeration Course, Outline

Collection Creator:
Mamer, Stuart M.  Search this
Mamer, Louisan E., 1910-2005  Search this
Container:
Box 14, Folder 5
Type:
Archival materials
Date:
1944
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:
Louisan E. Mamer Rural Electrification Administration Papers, 1927-2002, Archives Center, National Museum of American History.
See more items in:
Louisan E. Mamer Rural Electrification Administration Papers
Louisan E. Mamer Rural Electrification Administration Papers / Series 1: Demonstration and Training Materials / 1.3: Cooperative Study Courses
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0862-ref158

Teaching Files and Class Notes

Collection Creator:
Rosenblum, Robert  Search this
Extent:
4.3 Linear feet (Boxes 27-31)
Type:
Archival materials
Date:
1955-2006
Scope and Contents:
Teaching files and class notes document permanent and visiting professorships at Barnard College, Columbia University, Duke University, New York University, Princeton University, University of Michigan, Yale College, and Yale University. Materials include course outlines, exam materials, course lecture schedules, class notes by Rosenblum and students, syllabi, and submitted student papers and assignments.
Collection 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 and electronic media 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:
Robert Rosenblum Papers, circa 1927-2009, bulk 1950-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.roserobe, Series 7
See more items in:
Robert Rosenblum Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-roserobe-ref16

Survey Course Outlines

Collection Creator:
Solomon, Alan R., 1920-1970  Search this
Container:
Box 3, Folder 30
Type:
Archival materials
Date:
circa 1940s
Collection 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.
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:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
See more items in:
Alan R. Solomon papers
Alan R. Solomon papers / Series 5: Teaching and Study Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-soloalan-ref128

Teaching and Study Files

Collection Creator:
Solomon, Alan R., 1920-1970  Search this
Extent:
0.25 Linear feet (Box 3)
Type:
Archival materials
Date:
1944-1958
Scope and Contents:
Series documents courses taken, or taught, by Solomon at Harvard University, where he was a student, a teaching fellow, a course assistant, and a tutor, and at Cornell University where he was an instructor, and an assistant professor, before serving as Director of Cornell's Andrew Dickson White Museum of Art from 1953-1961.

Material includes course outlines, information on instructors, descriptions of slide shows, lecture and seminar notes, and other notes.

Essays written by Solomon as a student can be found in Series 3: Writings and Notes.
Collection 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.
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:
Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.soloalan, Series 5
See more items in:
Alan R. Solomon papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-soloalan-ref5

Modify Your Search







or


Narrow By