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BlueCrabs: The Soul Of Chesapeake Bay

Creator:
Smithsonian Environmental Research Center  Search this
Type:
YouTube Videos
Uploaded:
2014-07-08T16:18:54.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Animal health;Environmental Sciences;Coastal ecology  Search this
See more by:
SmithsonianSERC
Data Source:
Smithsonian Environmental Research Center
YouTube Channel:
SmithsonianSERC
EDAN-URL:
edanmdm:yt_iUOMVPo4tRk

Morris Louis and Morris Louis Estate papers

Artist:
Louis, Morris, 1912-1962  Search this
Names:
André Emmerich Gallery  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Robert Pierce/Films, Inc.  Search this
Bocour, Leonard, 1910-1993  Search this
Brenner, Marcella, 1912-2007  Search this
Faatz, Anita J. (Anita Josephine)  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Noland, Kenneth, 1924-2010  Search this
Truitt, Anne, 1921-2004  Search this
Extent:
17.8 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Sound recordings
Interviews
Photographs
Date:
circa 1910s-2007
bulk 1965-2000
Summary:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, documentation of PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists discussing Morris Louis conducted by Anita Faatz.
Scope and Contents:
The Morris Louis and Morris Louis Estate papers measure 17.8 linear feet and date from circa 1912-2007, with the bulk of the material dating from 1965-2000. The collection documents Morris Louis' career as a Color Field painter and founding participant in the Washington Color School, as well as the subsequent administration of his estate by his wife Marcella Brenner. Found within Morris Louis' papers are biographical materials, correspondence, photographs, scattered financial records, notes, writings, printed materials, and a canvas sample. The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis' artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition "Morris Louis Now", and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Within the Morris Louis papers (circa 3 linear feet) are scattered biographical materials for Morris Louis and Marcella Brenner. Correspondence is with family friends, artists, and galleries, the bulk of which consists of photocopies. Of note are letters from Helen Frankenthaler, Clement Greenberg, Leonard Bocour, Kenneth Noland, and Anne Truitt. Business records include lists of artwork, receipts for art supplies, and scattered tax records. Six notebooks belonging to Morris Louis contain miscellaneous notes about students, studio rental payments, addresses, travel expenses, and a short list of paintings. There is one notebook of Marcella Brenner's containing notes about expenses and addresses. Also found are printed materials, one canvas sample, and one embossing stamp. Photographs are of Morris Louis, Marcella Brenner, and the Bernstein family.

The majority of the collection (circa 15 linear feet) consists of records created and maintained by Marcella Brenner in the course of managing Louis' estate and posthumous exhibitions and projects. There are numerous gallery exhibition records for many posthumous and retrospective exhibitions between 1965 through 2002, including those held at the Andre Emmerich Gallery, the Hirshhorn Museum, and numerous other U.S. and international galleries and museums. Louis' artwork is documented in highly detailed inventory lists and cards. Legal records document the lawsuit brought by the Bernstein family against Marcella Brenner which began in 1964 and ended in 1970 in favor of Brenner. Financial records document sales.

Printed materials include clippings, exhibition catalogs and announcements, and other miscellaneous materials. Writings include essays about Louis and manuscript copies of the book Trustee for the Human Race: Litigation over the Morris Louis Paintings written by Ruth S. Blau under contract for Marcella Brenner. Photographs are primarily of artwork depicted in exhibition installations. Project files are found for several posthumous documentary film projects and a catalog raisonne, and include a series of audio recordings of interviews of 27 artists conducted by Anita Faatz in 1970-1971. Artists interviewed include Clement Greenberg, Leonard Bocour, Andre Emmerich, Helen Frankenthaler, Kenneth Noland, and many others.
Arrangement:
This collection is arranged as 2 series.

Missing Title

Series 1: Morris Louis Papers, circa 1910s-1998 (2.9 linear feet; Boxes 1-3)

Series 2: Morris Louis Estate Papers, 1947-2007 (14.9 linear feet; Boxes 3-19, OV 20)
Biographical / Historical:
Morris Louis (1912-1962) was one of the earliest American Color Field painters, and, along with other Washington, D.C., painters, formed the movement known as the Washington Color School.

Born in Baltimore, M.D., to Russian immigrants Louis Bernstein and Cecelia Luckman, Morris Louis attended the Maryland Institute of Fine and Applied Arts from 1927-1932 and served as president of the Baltimore Artists' Association in 1935. During the Depression, he worked in New York City on the steering committee of the Easel Division of the Federal Arts Projects of the Works Project Administration (WPA). He exhibited Broken Bridge at the WPA Pavilion of the New York World's Fair in 1939.

In 1947, Louis married Marcella (Siegel) Brenner, and moved to Silver Spring, Maryland, a close suburb of Washington, D.C., where he taught private art classes and continued painting, using his apartment bedroom as a studio. In 1948, Louis participated in the Maryland Artists, 16th Annual Exhibition at the Baltimore Museum of Art, and began using Leonard Bocour's Magna acrylic paint, which he would use exclusively for the rest of his painting career.

In 1952, Morris Louis and Marcella Brenner moved to Washington, D.C. and set up a studio in his home where he would complete his most notable canvases. He began teaching at the Washington Workshop Center for the Arts and met artist Kenneth Noland who was also exploring Color Field painting. Through Noland, Louis met art critic Clement Greenberg in 1953, and they visited artist studios in New York City to study abstract expressionist works, including those by Helen Frankenthaler, Jackson Pollock, and Franz Kline. Louis and Noland were greatly influenced by Frankenthaler's staining technique, and Louis began experimenting with staining methods upon his return to Washington. Clement Greenberg became a life-long advocate for Louis and, in 1954, included Louis in the seminal group exhibition, "Emerging Talent," organized by Greenberg for the Kootz Gallery. In 1960, Andre Emmerich became his dealer in the United States and Lawrence Rubin represented him in Paris.

Using thinned Magna paint and unstretched, unprimed canvases, Louis created his works by rotating the canvas as the paint moved across and soaked in. Between 1958 and 1962 Louis produced three major series of paintings—the Veils, the Unfurleds, and the Stripes. Each series numbered more than one hundred canvases. Louis never documented his exact painting methods and would not allow anyone to watch him work, including his wife. His own worst critic, Louis destroyed many of his paintings that did meet his standards, including a large number of his earliest works and many created between 1954 and 1957. He also designated numerous surviving works for destruction prior to his death.

Louis was diagnosed with lung cancer on July 1, 1962 and died a few months later. The Andre Emmerich Gallery held a previously scheduled exhibition as planned, a month following Louis' death, as a memorial exhibition.
Related Materials:
Also found at the Archives of American Art are the Marcella Brenner journals, 1962-2000. The Maryland Institute College of Art (MICA) also holds papers of Morris Louis and the Morris Louis Estate in their Morris Louis Study Collection.
Provenance:
The Morris Louis and Morris Louis Estate papers were donated by Marcella Brenner in several installments in 1976, 1986, and 1988. Subsequent donations in 2009 and 2012 were donated by Marcella Brenner via Ann M. Garfinkle, Executor. The Anita Faatz interviews were donated in 1976 by Marcella Brenner.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Many of the audio recordings and transcripts of interviews with 26 artists conducted by Anita Faatz in 1970-1971 are access restricted and written permission is required from the person interviewed. Please contact reference services for more information. Any use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- United States  Search this
Topic:
Transcripts  Search this
Washington Color School (Group of artists)  Search this
Law and art -- United States  Search this
Color-field painting  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Abstract expressionism  Search this
Genre/Form:
Video recordings
Sound recordings
Interviews
Photographs
Citation:
Morris Louis and Morris Louis Estate Papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.louimorr
See more items in:
Morris Louis and Morris Louis Estate papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ecc509be-66ed-4df5-9632-537bc9cf40ed
EDAN-URL:
ead_collection:sova-aaa-louimorr
Online Media:

Judith Wilson papers, 1966-2010

Creator:
Wilson, Judith  Search this
Subject:
Thompson, Bob  Search this
Type:
Video recordings
Sound recordings
Photographs
Citation:
Judith Wilson papers, 1966-2010. Archives of American Art, Smithsonian Institution.
Topic:
Interviews  Search this
African American artists  Search this
Women art historians  Search this
African American educators  Search this
Theme:
Women  Search this
African American  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)16064
(DSI-AAA_SIRISBib)322805
AAA_collcode_wilsjudi
Theme:
Women
African American
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_322805
Online Media:

Teenarama: Workshop on Documentary Filmmaking

Creator:
Anacostia Museum and Center for African American History and Culture  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Kendall Productions  Search this
Extent:
1 Sound recording (microcassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1998
Scope and Contents:
Conversation about producing a documentary film. Specifically, the importance of both sound and image; necessary equipment; technical aspects and elements of production; interviewing techniques; cinematography and sound tips; planning and outlining the film; and funding, marketing and focus groups are discussed.
Discussion. Audio only. Very poor audio quality. Part of the Teenarama Collection. Dated 19981012.
Biographical / Historical:
The documentary 'Dance Party: The Teenarama Story' examined the popularity of 1950s and 1960s teen dance television shows, including 'The Teenarama Dance Party,' 'American Bandstand,' 'The Buddy Dean Show,' and 'The Milt Grant Show.' 'The Teenarama Dance Party' was an all-black teen dance show produced and broadcasted in Washington, D.C. The show aired from March 7, 1963 to November 20, 1970 on WOOK-TV Channel 14, which was the nation's first Black TV station. The show was produced live six days a week; and hosted first by Bob King and later by a rotation of hosts. In addition to being a dance show, 'The Teenarama Dance Party' was a training ground for teens. Production staff mentored the teenagers in the art of broadcast production. The teens trained as camera operators, floor directors, and technical engineers; and served as production assistants.
Local Numbers:
ACMA AV005288_B
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
African Americans  Search this
Motion picture authorship  Search this
Motion pictures -- Production and direction  Search this
Motion pictures -- Distribution  Search this
Documentary videos  Search this
Genre/Form:
Sound recordings
Citation:
Teenarama: Workshop on Documentary Filmmaking, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.06-055, Item ACMA AV005288_A
See more items in:
Kendall Productions Records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7310e0e44-4c13-4d45-bd6a-8399abe4ad70
EDAN-URL:
ead_component:sova-acma-06-055-ref726

Judith Wilson papers

Creator:
Wilson, Judith, 1952-  Search this
Names:
Thompson, Bob, 1937-1966  Search this
Extent:
11.2 Linear feet
27.94 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Sound recordings
Photographs
Date:
1966-2010
Summary:
The papers of African American art historian Judith Wilson measure 11.2 linear feet and 27.94 GB and date from 1966 to 2010. Wilson's career is documented through correspondence with friends, colleagues, artists, universities, and art organizations; notebooks; files on writing projects, conferences, lectures, symposia and other professional activities; and a small amount of printed material. Also found is research material on artist Bob Thompson, including photographs, printed material, correspondence, notebooks and a documentary video recording. Additionally, the collection includes sound recordings of 71 interviews of artists and art collectors and six video recordings. Some of the materials are in digital format.
Scope and Contents:
The papers of art historian Judith Wilson measure 11.2 linear feet and 27.94 GB and date from 1966 to 2010. Wilson's career is documented through correspondence with friends, colleagues, artists, universities, and art organizations; notebooks; files on writing projects, conferences, lectures, symposia and other professional activities; and a small amount of printed material. Also found is research material on artist Bob Thompson, including photographs, printed material, correspondence, notebooks and a documentary video recording. Additionally, the collection includes sound recordings of 71 interviews of artists and art collectors and six video recordings. Some of the materials are in digital format.
Arrangement:
The collection is arranged as 9 series.

Missing Title

Series 1: Correspondence, 1975-2009 (1.3 linear feet; Boxes 1-2)

Series 2: Notebooks, 1977-2008 (1.7 linear feet; Boxes 2-3)

Series 3: Writing Projects, 1972-2010 (1.7 linear feet; Boxes 4-5)

Series 4: Conferences, Lectures, and Symposia, 1978-2009 (2.0 linear feet; Boxes 5-7, 17.11 GB; ER01-ER05)

Series 5: Professional Records, 1979-2009 (1.0 linear foot; Boxes 7-9)

Series 6: Research Material on Bob Thompson, 1966-2006 (1.8 linear feet; Boxes 8-10, 1.70 GB; ER06-ER07)

Series 7: Printed Material, 1981-2010 (0.5 linear feet; Box 10)

Series 8: Interviews, 1978-2008 (1.0 linear foot; Boxes 11-12, 0.697 GB; ER08-ER09)

Series 9: Video Recordings, 1979-2007 (4 folders; Box 12, 8.42 GB; ER10-ER15)
Biographical / Historical:
Judith Wilson (1952- ) is an African American art historian in San Francisco, California. Wilson began her career as an editor for Ms. Magazine in 1975. In 1979 she wrote a profile of Alma Thomas for that magazine, after which she began writing regularly about visual art and cultural politics, reviewing exhibitions, writing feature articles, and serving as guest editor for several publications. Her research interests included African American art and black visual culture. She received her Ph.D. in art history from Yale University with a dissertation on the artist Bob Thompson. Her teaching career included full-time positions in art history at University of Virginia, Yale, and the University of California, Irvine, as well as part-time and visiting professorships at several other schools. In 2006 she retired from the University of California, Irvine after eight years. During her career Wilson served on editorial and advisory boards for art publications and wrote many catalog essays, contributed to anthologies, and presented numerous conference papers, many of which were later published.
Provenance:
The collection was donated in 2012 by Judith Wilson-Pates.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Office. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
"Bob Thompson Happening" (1965) video: Authorization to publish, quote or reproduce requires written permission from Joanne Elkin. Contact Reference Services for more information.
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:
Art historians -- California -- San Francisco  Search this
Topic:
Interviews  Search this
African American artists  Search this
Women art historians  Search this
African American educators  Search this
Genre/Form:
Video recordings
Sound recordings
Photographs
Citation:
Judith Wilson papers, 1966-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.wilsjudi
See more items in:
Judith Wilson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9786583b0-7b5c-4a81-bcb1-558bab90cdd1
EDAN-URL:
ead_collection:sova-aaa-wilsjudi
Online Media:

Documentary Video Recordings

Collection Creator:
Montgomery, Evangeline J.  Search this
Extent:
3 Videocassettes (VHS) (Notes on cassettes: "Woodturners," "David Dorfman Dance," and "American Glass.")
Container:
Box 19, Folder 10
Type:
Archival materials
Moving Images [31027000888186]
Videocassettes (vhs)
Date:
1992-1996
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 born-digital records or 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:
Evangeline J. Montgomery papers, 1928-2018. Archives of American Art, Smithsonian Institution.
See more items in:
Evangeline J. Montgomery papers
Evangeline J. Montgomery papers / Series 6: Printed and Documentary Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a378c379-069b-4475-98bc-0b24f6529936
EDAN-URL:
ead_component:sova-aaa-montevan-ref262

Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000

Creator:
Louis, Morris, 1912-1962  Search this
Subject:
Brenner, Marcella  Search this
Bocour, Leonard  Search this
Frankenthaler, Helen  Search this
Faatz, Anita J. (Anita Josephine)  Search this
Noland, Kenneth  Search this
Greenberg, Clement  Search this
Truitt, Anne  Search this
Robert Pierce/Films, Inc.  Search this
Hirshhorn Museum and Sculpture Garden  Search this
André Emmerich Gallery  Search this
Type:
Video recordings
Sound recordings
Interviews
Photographs
Citation:
Morris Louis and Morris Louis Estate papers, circa 1910s-2007, bulk 1965-2000. Archives of American Art, Smithsonian Institution.
Topic:
Transcripts  Search this
Washington Color School (Group of artists)  Search this
Law and art -- United States  Search this
Color-field painting  Search this
Art -- Study and teaching  Search this
Art, Modern -- 20th century  Search this
Abstract expressionism  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7040
(DSI-AAA_SIRISBib)209173
AAA_collcode_louimorr
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209173
Online Media:

El Río

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Building upon a multi-year engagement with communities along the U.S.-Mexico border, the El Río program at the 2000 Festival was one of several important outcomes - including a traveling exhibition, education materials, and documentary video - of the project. The geographic expanse of the basin and its cultural diversity posed a challenge for the project that was met with the help of colleagues and institutions in the region. Smithsonian curators posed several broad questions to their regional collaborators about the dynamic interplay between culture and environment in the Río Grande/Río Bravo Basin. First, how does traditional knowledge developed over generations contribute to managing land and water resources? Second, in what ways does the environment shape a community's cultural identity? And third, how can local knowledge and cultural practices contribute to sustainable development and provide the basis for successful economic enterprise? The Festival presentations were structured around these three domains.

Traditional knowledge and management of the environment. Shrimpers, ranchers, vaqueros, blacksmiths, barbacoa (barbecue) cooks, and artisans who use desert fibers all have different work, but all rely on traditional local knowledge and on their own experience with the fragile natural resources of this desert environment. Centenary ranchers in New Mexico maintain the ancient acequia (irrigation ditch) system to sustain their ethical values and natural ecosystem with community participation. As new people move into the area, conflicts arise over different values placed on cost-efficient technologies. Festival participants addressed how they combine knowledge and technology from many sources and, as importantly, how they establish dialogue with newcomers about tradition and the quality of life.

Landscape and cultural identity. For the Pueblo, water rights govern ritual practices as much as irrigation. When new residents move into an area, different forms of land ownership and use may challenge existing arrangements. Long ago, Spanish settlers in New Mexico caused great conflict and change, but Pueblo traditions have persisted, and in some cases, Pueblo and Hispano communities have developed shared cultural forms, such as matachín dancing. Some of the Rarámuri, a Native American community indigenous to Chihuahua and known by outsiders as Tarahumara, have recently migrated from their rural environment to Ciudad Juárez. Their dance, craft, and foodways traditions help them sustain their cultural identity in an urban environment. Other such expressions featured in this program are Chicano murals, which illustrate the interconnectedness of belief, history, and cultural identity; and South Texas conjunto, northern Mexico norteño, and New Mexico ranchera music, which illustrate the same thematic connections in their music and words.

Local culture and sustainable development. Guided by the values shared in local cultures, successful, sustainable, producer-owned businesses combine both traditional and new skills and technology. These enterprises develop collaborative networks through participation in formal and informal economies, selling their products in community markets, flea markets, tourist shops, through craft catalogs and Internet Web sites, and in other domestic and international markets. Craft enterprises featured at the Festival included a weaving cooperative, cottage-industry piñata making, glass etching, furniture caning, and retablo (sacred image) painting. Building arts included building with adobe, ornamental stone carving, brick making, and self-help home building. All illustrated the creative use of traditional knowledge, available resources, and innovative exchange strategies.

Olivia Cadaval and Cynthia L. Vidaurri were Curators, and Arlene Reiniger was Program Coordinator, with Soledad Campos as Evening Concert Collaborator.

The program was produced in collaboration with the Smithsonian Center for Latino Initiatives. Major support was provided by the State of New Mexico, Smithsonian Latino Initiatives Fund, U.S. Department of Agriculture, and the Housing Assistance Council. Additional support was provided by El Consejo Nacional para la Cultura y las Artes, Texas Commission on the Arts, El Consejo para la Cultura de Nuevo León, Instituto Tamaulipeco para la Cultura y las Artes, Dirección General de Ecología del Estado de Coahuila, Desarrollo Integral de la Familia del Municipio de Saltillo, Coahuila; Programa de Museos Comunitarios en el Estado de Chihuahua, and National Museum of American History's ENCUENTROS: Latino America at the Smithsonian.
Researchers:
Armando Acosta, Charles Aguilar, Estevan Arellano, Gastón Armendáriz López, Alejandro Arrecillas, Angélica Bautista, Mike Blakeman, Norma Cantú, Imelda Castro Santillán, David Champion, Jerry Chapman, Cynthia L. Chávez, Cynthia Cortez, Juanita Elizondo Garza, Patricia Fernández de Castro, Peter J. García, Gregorio Garza, Rodolfo Garza Gutiérrez, Bárbara Gonzales, Trinidad Gonzales, Héctor Guillermo Guerrero Mata, Steve Harris, Victor Manuel Hernández, Arnold Herrera, Jorge Ignacio Ibarra Ibarra, Alma Jiménez, Enrique Lamadrid, Ramón de León, José Oscar Leyva Flores, Norma Magallanes Barrera, Irma Delia Máynes Hernández, Heidi H. McKinnon, Gildardo Montaño Chávez, Mario Montaño, Genevieve Mooser, Jaime Morales Gutiérrez, Marisa Oliva, Francis Ortega, Beverly Ann Ortiz, Cirila Quintero, Marcos Rodríguez, Rose Rodríguez-Rabin, Héctor Romero Lecanda, Erin Ross, Ken Rubin, Joanna Stewart, John Stockley, Socorro Tabuenca, Bob Tenequer, Elaine Thatcher, Molly Timko, Curtis Tunnell, Ethel Warrior, William Warrior
Presenters:
Charles Aguilar, Norma Cantú, Imelda Castro Santillán, David Champion, James Early, Nancy Groce, Miguel Gandert, Juanita Elizondo Garza, Trinidad Gonzales, Héctor Guillermo Guerrero Mata, Victor Manuel Hernández, Arnold Herrera, Jorge Ignacio Ibarra Ibarra, Enrique Lamadrid, Benigno Layton, Ramón de León, Mario Montaño, Genevieve Mooser, Erin Ross, Daniel Sheehy, Socorro Tabuenca, Tom Vennum
Participants:
TRADITIONAL KNOWLEDGE AND MANAGEMENT OF THE ENVIRONMENT

Occupational Traditions

Julius Collins, shrimper, Brownsville, Texas

Hildebrando López, metalsmith, San Isidro, Texas

Ruben Hinojosa, vaquero, leather worker, Edinburg, Texas

Juan Luis Longoria, vaquero, caporal, San Isidro, Texas

Melecio Longoria, vaquero, San Isidro, Texas

Guillermo "Willie" Mancha, Sr., barbecue cook, Eagle Pass, Texas

Guillermo "Willie" Mancha, Jr., barbecue cook, Eagle Pass, Texas

Antonio Manzanares, co-founder Ganados del Valle, sheep rancher, Los Ojos, New Mexico

Reynaldo Marrufo Franco, vaquero, Alvaro Obregón, Chihuahua, Mexico

Carlos Leonel Ornelas Miranda, vaquero, Ejido Benito Juárez, Municipio Naniquipa, Chihuahua, Mexico

Joaquin Peña, vaquero, horseshoe artisan, McAllen, Texas

Clemente Zamarripa, vaquero, horsehair braider, Santa Elena, Texas

Craft Traditions

Lorenza Márquez de Quiroz, ixtle weaver, Saltillo, Coahuila, Mexico

Antonio Cortés Quiroz, ixtle weaver, hammock maker, Saltillo, Coahuila, Mexico

José Isabel Quiroz, lechuguilla processor, ixtle weaver, Saltillo, Coahuila, Mexico

José Isaac Quiroz, lechuguilla processor, ixtle weaver, Saltillo, Coahuila, Mexico

LANDSCAPE AND CULTURAL IDENTITY

Cochiti Pueblo, New Mexico

Arnold Herrera, drum maker, drummer, silversmith, educator, Cochiti Pueblo, New Mexico

Carlos R. Herrera, drum maker, dancer, singer, Cochiti Pueblo, New Mexico

Thomas Herrera, bead worker, drum maker, dancer, singer, silversmith, bead worker, Cochiti Pueblo, New Mexico

Tim A. Herrera, drum maker, dancer, singer, costume and moccasin maker, Cochiti Pueblo, New Mexico

Mary Martin, elder, potter, dancer, Cochiti Pueblo, New Mexico

Antoinette Suina, potter, dancer, Cochiti Pueblo, New Mexico

Samuel Suina, dancer, composer, singer, Cochiti Pueblo, New Mexico

Bernalillo, New Mexico

Felipe López, santo carver, Bernalillo, New Mexico

Los Matachines de San Lorenzo, Bernalillo, New Mexico

Charles Aguilar, musician, farmer, fiesta organizer, Bernalillo, New Mexico

James Baca, matachín dancer, Bernalillo, New Mexico

Bryan Domínguez, matachín dancer, Bernalillo, New Mexico

Samantha Domínguez, matachín Malinche, Bernalillo, New Mexico

Candy López, matachín guitar player, Bernalillo, New Mexico

Gilbert Sanchez, matachín Monarca, Bernalillo, New Mexico

Rarámuri in Ciudad Juárez, Chihuahua, Mexico

José Guadalupe A. Bautista, musician, dancer, woodcarver, bilingual teacher, runner, Ciudad Juárez, Chihuahua, Mexico

Lorena Cano, dancer, seamstress, Ciudad Juárez, Chihuahua, Mexico

José Indalecio Castillo, dancer, Ciudad Juárez, Chihuahua, Mexico

Raúl Cornelio, dancer, Ciudad Juárez, Chihuahua, Mexico

Marta Cruz Moreno, dancer, basket weaver, seamstress, Ciudad Juárez, Chihuahua, Mexico

Marcelina Refugia Rayo Ortiz, dancer, basket weaver, Ciudad Juárez, Chihuahua, Mexico

Edcouch-Elsa High School Conjunto, Texas -- Edcouch-Elsa High School Conjunto, TexasJavier del Toro, bajo sexto player, Elsa, TexasJavier González, accordion player, Elsa, TexasSelvín Guevara, bass guitar player, Elsa, TexasPaul Anthony Layton, drummer, Elsa, Texas

Los Fantasmas del Valle -- Los Fantasmas del ValleHector Barron, bass guitar player, Mercedes, TexasJulio Figueroa, bajo sexto player, Mercedes, TexasCruz Gonzalez, drummer, Mercedes, TexasRodney Rodriguez, accordion player, Rio Grande City, Texas

Los Canarios -- Los CanariosCirilo Gauna Saucedo, accordion player, string instrument maker, Santa Catarina, Nuevo León, MexicoRamón González Mandujano, accordion and bajo sexto player, Santa Catarina, Nuevo León, Mexico

Trio Tamaulipeco, Ciudad Victoria, Tamaulipas, Mexico -- Trio Tamaulipeco, Ciudad Victoria, Tamaulipas, MexicoAlvaro Cardona Pérez, accordion player, Ciudad Victoria, Tamaulipas, MexicoPedro Rodríguez Torres, tololoche player, Ciudad Victoria, Tamaulipas, MexicoConstancio Ruíz Cardona, bajo sexto player, Ciudad Victoria, Tamaulipas, Mexico

Los Folklóristas de Nuevo Mexico -- Los Folklóristas de Nuevo MexicoLorenzo González, guitar and requinto player, Abiquiu, New MexicoCipriano F. Vigil, violin player, composer, El Rito, New MexicoCipriano P. Vigil, Jr., guitar and requinto player, El Rito, New MexicoFelicita Vigil, guitar and requinto player, El Rito, New Mexico

LOCAL CULTURE AND SUSTAINABLE DEVELOPMENT

Tierra Wools, Los Ojos, New Mexico

Helen Manzanares, weaver, Los Ojos, New Mexico

Lara Manzanares, weaver, Los Ojos, New Mexico

Molly Manzanares, weaver, Los Ojos, New Mexico

Cambridge -- Maquiladora

Juan Diego Domínguez, -- maquiladora -- worker, Matamoros, Tamaulipas, Mexico

Rita Morales Alvarez, -- maquiladora -- worker, cook, Matamoros, Tamaulipas, Mexico

Family Enterprises

Amalia Castillo González, palmito fiber artisan, Bustamante, Nuevo Leon, Mexico

Rosa María Castillo González, palmito fiber artisan, Bustamante, Nuevo Leon, Mexico

Angela Caudillo, piñata maker, Nuevo Laredo, Tamaulipas, Mexico

Juan Caudillo, piñata maker, Nuevo Laredo, Tamaulipas, Mexico

Leopolda Marín Leal, -- tambora -- maker, clarinet player, Linares, Nuevo León, Mexico

Building Arts

María Jésus Jiménez, adobe builder, Presidio, Texas

Alejandro Jiménez, adobe builder, Presidio, Texas

Gerardo Luis Caballero Realivásquez, brick maker, Ciudad Juárez, Chihuahua, Mexico

Enrique Chávez Ramírez, brick maker, Ciudad Juárez, Chihuahua, Mexico

Raul Ramírez-Sandoval, brick maker, Ciudad Juárez, Chihuahua, Mexico

Martín Villa Guevara, stonecutter, Ojinaga, Chihuahua, Mexico

Francisco Javier Villa Reyes, stonecutter, Ojinaga, Chihuahua, Mexico

Proyecto Azteca, United Farm Workers

Maricela Castillo, house builder, San Juan, Texas

María Gómez, United Farm Workers, house builder, San Juan, Texas

Jaime Morales, house builder, San Juan, Texas

Aristeo Orta, house builder, San Juan, Texas

Juan Salinas, construction supervisor, San Juan, Texas
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2000, Series 2
See more items in:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk52b648c32-28e3-4da8-af63-39303e246723
EDAN-URL:
ead_component:sova-cfch-sff-2000-ref18

"Francis Celentano" Whatcom Museum of History and Art Documentary Video and Transcript

Collection Creator:
Celentano, Francis, 1928-2016  Search this
Extent:
1 Videocassettes (VHS)
Container:
Box 2, Folder 20
Type:
Archival materials
Videocassettes (vhs)
Date:
1992
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.
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:
Francis M. Celentano papers, circa 1939-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Francis M. Celentano papers
Francis M. Celentano papers / Series 4: Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fbdb336f-e77c-48dc-9056-0938c7bf9800
EDAN-URL:
ead_component:sova-aaa-celefran-ref70

Advertisement for Eritrean Artists in War and Peace Documentary Video by LaDuke

Collection Creator:
LaDuke, Betty  Search this
Container:
Box 15, Folder 16
Type:
Archival materials
Date:
circa 1997
Collection Restrictions:
Use of original records requires an appointment. The negatives are located in cold storage. All negatives have been digitized and are available online.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Collection Citation:
Betty LaDuke collection, EEPA 2007-003, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
See more items in:
Betty LaDuke collection
Betty LaDuke collection / Series 7: Printed Material / 7.1: Featuring LaDuke's Art / Promotional Materials
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7091ae066-9491-4db0-ab0b-f03a1e4728f3
EDAN-URL:
ead_component:sova-eepa-2007-003-ref1001

Oral History Interview with Eddie Becker

Interviewer:
Meghelli, Samir  Search this
Creator:
Anacostia Community Museum  Search this
Extent:
1 Sound recording (MP3)
Type:
Archival materials
Sound recordings
Oral histories (document genres)
Interviews
Place:
Adams Morgan (Washington, D.C.)
Smithsonian Institution (Washington (D.C.)
Date:
2016 December 27
Scope and Contents:
Interview created as part of the research for the Anacostia Community Museum's "A Right to the City" exhibition.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
Documentary videos  Search this
Neighborhoods -- Washington, D.C. -- History  Search this
Genre/Form:
Oral histories (document genres)
Interviews -- 21st century
Citation:
Interview with Eddie Becker, Anacostia Community Museum Archives, Smithsonian Institution.
See more items in:
A Right to the City Exhibition Records
A Right to the City Exhibition Records / Series I: Oral History Interviews
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa762eef55d-f40b-401e-8dd4-d903a1d15ed3
EDAN-URL:
ead_component:sova-acma-03-119-ref30

Eugene Allen (White House Maître D’) Discusses Jimmy Carter

Publisher:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Object type:
Lesson Plan
Data source:
SI Center for Learning and Digital Access
EDAN-URL:
edanmdm:SCLDA_4299

Eugene Allen (White House Maître D’) Discusses White House Experiences

Publisher:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Object type:
Lesson Plan
Data source:
SI Center for Learning and Digital Access
EDAN-URL:
edanmdm:SCLDA_4300

Eugene Allen (White House Maître D’) Discusses First Lady Nancy Reagan

Publisher:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Object type:
Lesson Plan
Data source:
SI Center for Learning and Digital Access
EDAN-URL:
edanmdm:SCLDA_4304

Black in Latin America / presented and written by Henry Louis Gates Jr. ; produced and directed by Ricardo Pollack ; a production of Inkwell Films, Wall to Wall Media LTD and Thirteen in association with WNET.org

Screenwriter:
Gates, Henry Louis Jr.  Search this
Film director:
Pollack, Ricardo  Search this
Petterle, Diene  Search this
Trachtman, Ilana  Search this
Cinematographer:
Smith, Graham  Search this
Film editor:
Carey, Joe  Search this
Follows, Nick  Search this
Jones, Lisa M.  Search this
Composer:
D'Oliveira, Miguel  Search this
Author:
PBS Distribution (Firm)  Search this
Inkwell Films (Firm)  Search this
Wall to Wall (Firm)  Search this
WNET (Television station : New York, N.Y.)  Search this
Physical description:
2 videodiscs (approximately 240 min.) : sound, color with black and white sequences ; 4 3/4 in
Type:
Video recordings
Video recordings for people with visual disabilities
Video recordings for the hearing impaired
Television programs
Documentary television programs
Nonfiction television programs
Place:
Latin America
United States
Date:
2011
Topic:
Black people--Race identity  Search this
Black people  Search this
African Americans  Search this
Civilization  Search this
African influences  Search this
Social life and customs  Search this
Race relations  Search this
Call number:
video 001503
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1081549

Syracuse University/Point of Contact Gallery

Collection Creator:
Davidovich, Jaime, 1936-2016  Search this
Container:
Box 1, Folder 25
Type:
Archival materials
Date:
2005-2010
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.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Jaime Davidovich papers
Jaime Davidovich papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97df8be46-b4ba-40b4-b5f1-021fe6dee12f
EDAN-URL:
ead_component:sova-aaa-davijaim-ref26
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Syracuse University/Point of Contact Gallery digital asset number 1

Artists' Television Network, TV Magazine, Pilot Issue

Collection Creator:
Davidovich, Jaime, 1936-2016  Search this
Container:
Box 2, Folder 1
Type:
Archival materials
Date:
1980
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.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Jaime Davidovich papers
Jaime Davidovich papers / Series 5: Project and Source Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97682c9e4-7a88-4ab4-ba8b-c6a500609311
EDAN-URL:
ead_component:sova-aaa-davijaim-ref47
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Artists' Television Network, TV Magazine, Pilot Issue digital asset number 1

Guggenheim Fellowship Proposal

Collection Creator:
Davidovich, Jaime, 1936-2016  Search this
Container:
Box 2, Folder 6
Type:
Archival materials
Date:
2005-2006
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.
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:
Jaime Davidovich papers, 1949-2014. Archives of American Art, Smithsonian Institution.
See more items in:
Jaime Davidovich papers
Jaime Davidovich papers / Series 5: Project and Source Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c57554fb-b864-4629-b50c-a31067e9d2d7
EDAN-URL:
ead_component:sova-aaa-davijaim-ref50
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Guggenheim Fellowship Proposal digital asset number 1
  • View Guggenheim Fellowship Proposal digital asset number 2

Philip Pearlstein papers

Creator:
Pearlstein, Philip, 1924-  Search this
Names:
WBAI Radio (New York, N.Y.)  Search this
WRFM (Radio station : New York, N.Y.)  Search this
Barnet, Will, 1911-2012  Search this
Blaine, Michael  Search this
Cantor, Dorothy  Search this
Close, Chuck, 1940-  Search this
Downes, Rackstraw  Search this
Dückers, Alexander, 1939-  Search this
Field, Richard  Search this
Haas, Richard, 1936-  Search this
Hampleman, Jean  Search this
Kelly, W. J.  Search this
Levine, Jack, 1915-2010  Search this
McCarthy, David, 1960-  Search this
Shaman, Sanford Sivitz  Search this
Storr, Robert  Search this
Tamburini, Fernando  Search this
Tsao, Vivian, 1950-  Search this
Updike, John  Search this
Viola, Jerome  Search this
Wallin, Leland  Search this
Ward, John  Search this
Warhol, Andy, 1928- -- Photographs  Search this
Witkin, Jerome  Search this
Yezzi, David  Search this
Extent:
31.8 Linear feet
16.68 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Date:
circa 1940-2008
Summary:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.
Scope and Contents:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)
Biographical / Historical:
Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.
Provenance:
The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Audio visual material "Philip Pearlstein Draws the Artists' Model": Authorization to quote or reproduce for purposese of publication requires written permission from Pearlstein or his heirs. Contact Reference Services for more information.
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:
Art teachers -- New York (State) -- New York  Search this
Topic:
Architecture -- Egypt  Search this
Architecture, Roman  Search this
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Citation:
Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pearphil
See more items in:
Philip Pearlstein papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae8de1cb-660c-49be-b009-d765ed771ebe
EDAN-URL:
ead_collection:sova-aaa-pearphil
Online Media:

Bed Turning

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Thu, 28 Jun 2012 11:30:00 GMT
Topic:
Cultural property  Search this
See more posts:
Festival Blog
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
EDAN-URL:
edanmdm:posts_d7208bf751d4bd85a2f56e96b8696f9e

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