Quotes and excerpts must be cited as follows: Oral history interview with Alessandra Moctezuma, 2020 July 22. Archives of American Art, Smithsonian Institution.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Arthur and Jean Goodwin Ames, 1965 June 9. Archives of American Art, Smithsonian Institution.
United States. Works Progress Administration Search this
New Deal and the Arts Oral History Project Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Helen Bess Clarke and James Mitchell Clarke, 1964 June 24. Archives of American Art, Smithsonian Institution.
New Deal and the Arts Oral History Project Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Lowell Houser, 1964 July 31. Archives of American Art, Smithsonian Institution.
New Deal and the Arts Oral History Project Search this
New York World's Fair (1939-1940 : New York, N.Y.) Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Monty Lewis, 1964 June 25. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- California -- San Diego -- Interviews Search this
Muralists -- California -- San Diego -- Interviews Search this
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
Scope and Contents:
The Ankrum Gallery records measure 41.5 linear feet and date from circa 1900 to circa 1990s, with the bulk of the records dating from 1960 to 1990. The papers include over 395 artists files, general gallery correspondence, project files, administrative records, exhibition files, collector and client files, financial material, printed material, 1 unbound scrapbook, and photographs. Also included are personal papers of gallery founder Joan Ankrum and her nephew, artist Morris Broderson.
General correspondence is with artists, museums, collectors, and clients, and generally concerns sales, exhibitions, and consignments. Correspondents include Irving Block, Morris Broderson, Naomi Caryl, Suzanne Jackson, Joseph and Olga Hirshhorn, among many others. Correspondence is also found in the artists files and the collector/client files.
Project files document various events, benefits, and projects undertaken by the gallery, including a UNICEF benefit, "Up Against Hunger," the Exceptional Children's foundation, and the Young Art Patrons.
Administrative files document many activities of the gallery, such as the gallery's and Joan Ankrum's membership in the Black Arts Council, the California Arts Council, and the Art Dealers Association of California of which Joan Ankrum was a primary organizer. Also found are publicity files, a file on the history of the gallery, leases, floor plans, insurance documents, lists of graphics for sale, and other miscellany.
Exhbition files appear to be incomplete, but do include files for Huichol Indian's art, "The Art of African Peoples" (1973), "Five Contemporary Mexican Painters" (1977), Ethiopian Folk Painting (1978), San Diego Museum of Art Artists Guild All Media Exhibition (1982), "25th Anniversary Exhibition" (1985), among several others.
Extensive artists' files include correspondence, price lists, photographs and slides,resumes and biographical material, and sales invoices. Files are found for Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev, among many others. The Pat Alexander and Andy Nelson files also contain motion picture film.
Collector and client files document the gallery's relationship with over 115 collectors, museums, and art centers. Files may include correspondence and sales records and are found for Edith Halpert, Olga and Joseph Hirshhorn and the Hirshhorn Museum and Sculpture Garden, the Krannert Art Museum, Laguna Art Museum, Palm Spring Desert Museum, Paramount Pictures, San Diego Museum of Art, Staempfli Gallery, and Storm King Art Center, among many others.
Financial material documents sales through numbered invoices, consignments, loans, and insurance valuations. Printed material consists of exhibition catalogs and announcements, bulletins, periodicals, and newspaper clippings. One unbound scrapbook contains clippings and exhibition materials.
Photographs are of artwork, artists, and gallery openings. Additional photographs are found in the artists' files.
Joan Wheeler Ankrum personal papers document her personal and professional relationship with family, artists, and collectors. They include correspondence, personal writings, personal financial materials, printed material and loose scrapbook materials, family photographs and photographs of her as an actress, and artwork from various artists.
The papers of artist Morris Broderson, nephew of Joan Ankrum, document his professional relationship with the gallery as his primary dealer. Included are biographical materials, correspondence, publicity files, travel files, projects, exhibitions, collector/client files, financial material, printed material, photographs, and artwork.
Arrangement:
This collection is arranged as 12 series.
Missing Title
Series 1: Correspondence, 1961-1994 (0.5 linear feet; Box 1)
Series 2: Project Files, 1965-1987 (0.25 linear feet; Box 1)
Series 3: Administrative Records, 1961- circa 1990s (1 linear foot; Boxes 1-2)
Series 4: Exhibition Files, 1961-1991 (1 linear foot; Boxes 2-3)
Series 5: Artists' Files, 1957-1994 (22.5 linear feet; Boxes 3-25, 41-42, FC 43-45)
Series 6: Collector and Client Files, 1960-1994 (3.2 linear feet; Boxes 25-28)
Series 7: Financial Material, 1962-1990 (1.5 linear feet; Boxes 28-30)
Series 8: Printed Material, 1957-1994 (2 linear feet; Boxes 30-32, 41)
Series 9: Scrapbook, 1960-1988 (3 folders; Box 32)
Series 10: Photographs, circa 1960s-circa 1990s (0.35 linear feet; Boxes 32, 42)
Series 11: Joan Ankrum Personal Papers, circa 1900-1993 (2 linear feet; Boxes 32-34, 41)
Series 12: Morris Broderson Papers, 1941-1989 (7.2 linear feet; Boxes 34-42)
Biographical / Historical:
The Ankrum Gallery was established 1960 in Los Angeles by American film actress Joan Wheeler Ankrum and William Chalee. The gallery closed in 1989.
Joan Wheeler Ankrum and William Challee opened Ankrum Gallery on La Cienega Boulevard in Los Angeles in 1960 with a one-man show of Ankrum's nephew Morris Broderson. With a focus on contemporary California artists, Ankrum Gallery represented over 395 artists during its 30 years in operation, including Benny Andrews, Carlos Almaraz, Richard Bauer, Irving Block, Naomi Caryl, Bernie Casey, Frank Duveneck, Lorser Feitelson, Bruno Groth, David Herschler, Jessie Homer, Suzanne Jackson, Buffie Johnson, Samella Lewis, Helen Lundeberg, Arnold Mesches, Henry Miller, Melvin Schuler, Arthur Secunda, Ken Shores, Jean Varda, and Zev. In addition, the gallery was among the earliest to exhibit the work of black artists. The gallery also held exhibitions of world artists, which included "Art of African Peoples" (1973), "Yarn Paintings of the Huichol Indians" (1973), "Five Contemporary Mexican Painters" (1977), and "Ethiopian Folk Painting" (1978). Ankrum Gallery closed in 1989.
Art dealer and gallery owner, Joan Wheeler Ankrum was an actress before establishing the Ankrum Gallery primarily to showcase the work of her deaf nephew, Morris Broderson. Born in 1913 in Palo Alto, California, she began acting at the Pasadena Playhouse where she met her first husband Morris Ankrum with whom she had two sons, David and Cary Ankrum. She married gallery co-owner and partner William Challee in 1984. She helped organize the Los Angeles Art Dealers Association and the Monday Night Art Walks on La Cienega Boulevard. She was a member of the relatively short-lived Black Arts Council. Joan Wheeler Ankrum died in 2001 at the age of 88.
Morris Broderson (1928-2011) was a deaf painter. His first one-man show was at the Stanford Museum in 1957, followed by the Santa Barbara Museum of Art. By 1959 he'd won two awards from the Los Angeles County Museum, and appeared in the Whitney Museum's "Young America" show in 1960. His travels influenced his work, including the hand gestures of Kabuki art in Japan. His work is in the collections of the Whitney Museum of American Art and the Hirshhorn Museum and Sculpture Garden, among others. Following Joan Ankrum's death in 2001, Broderson was represented by her son David Ankrum.
Related Materials:
Also found in the Archives of American Art are two oral history interviews with Joan Ankrum, one conducted by Betty Hoag, April 28, 1964, and a second by Paul Karlstrom, November 5, 1997-February 4, 1998. Additionally, there is an oral history interview with Morris Broderson conducted by Paul Karlstrom, March 11-13, 1998.
Provenance:
The Ankrum Gallery records were donated to the Archives of American Art by Joan Ankrum in 1995.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Sally K. Ride Papers consists of over 23 cubic feet of papers, photographs, certificates, and film, created or collected by Sally Ride and chronicling her career from the 1970s through the 2010s. The papers document Ride's lifetime of achievements and include material relating to her astronaut training and duties; her contributions to space policy; her work as a physicist; and her work as an educator, including Sally Ride Science and related STEM projects.
Scope and Contents:
The Sally Ride Papers reflect Ride's careers as a student, astronaut, physicist, professor, author, and CEO
of Sally Ride Science. This collection consists of material gathered by Sally Ride over the course of her life. This material is particularly rich in training materials from her astronaut days, but also provides significant insight into her career in academia and her interest and support of STEM (Science, Technology, Engineering, and Math) education.
The bulk of this collection consists of materials related to Ride's professional work. This includes correspondence, memoranda, meeting minutes, reports and papers, notes, speeches, photographs, brochures, pamphlets, programs, newsletters, newspaper and magazine articles, and miscellaneous materials. Materials of a personal nature were retained by her family and therefore do not figure in this collection.
Arrangement:
The collection is organized chronologically into the following 12 series:
Series 1: Schooling
Series 2: NASA Career
Subseries 2.1: Training and Flights
Subseries 2.1.1: T-38 Training
Subseries 2.1.2: Space Shuttle Flight Training, General
Subseries 2.1.3: STS-7 Challenger Flight Training
Subseries 2.1.4: STS-41G Space Shuttle Challenger Flight Training
Subseries 2.1.5: Miscellaneous Space Shuttle Flight Training
Subseries 2.2: NASA Commissions and Reports
Subseries 2.2.1: Presidential Commission on the Space Shuttle Challenger Accident (Rogers Commission Report) 1986
Subseries 2.2.2: NASA Leadership and America's Future in Space: A Report to the Administrator [Ride Report] 1987
Subseries 2.2.3: Columbia Accident Investigation Board / NASA's Implementation Plan for Space Shuttle Return to Flight and Beyond Report 2003
Subseries 2.2.4: Review of United States Human Space Flight Plans Committee (Augustine Committee)
Subseries 2.3: White House Commissions and Reports
Subseries 2.3.1: President's Committee of Advisors on Science and Technology (PCAST)
Subseries 2.3.2: Briefing for the Vice President of the United States, 1986
Subseries 2.3.3: Briefing for the Clinton/Gore Transition, 1992
Series 3: Space.com
Series 4: Academia
Subseries 4.1: Physics Research Papers by Ride
Subseries 4.2: Ride's Physics Research Proposals and Projects
Subseries 4.3: Physics Research Files
Subseries 4.4: Physics Classes Taught by Ride
Subseries 4.5: Non-Physics Classes Taught by Ride
Subseries 4.6: Physics Conferences and Seminars
Subseries 4.7: Miscellaneous Department of Physics Materials
Subseries 4.8: California Space Institute
Series 5: Sally Ride STEM [science, technology, engineering and mathematics] Education Projects
Subseries 6.2: STEM Advocacy, Committees and Conferences
Series 7: Awards and Publicity
Subseries 7.1: Awards
Subseries 7.2: Correspondence/Invitations
Subseries 7.3: Boards
Subseries 7.4: Publicity Files
Series 8: Research Files
Subseries 8.1: Space:
Subseries 8.1.1: Space Articles, Reports, and NASA Publications
Subseries 8.1.2: Space Files – Commission, Workshops, and Special Reports
Subseries 8.2: Education
Series 9: Miscellaneous
Series 10: First Day Covers/Autographs
Series 11: Oversized material
Series 12: Films, Audio Tapes, and Media
Biographical / Historical:
Dr. Sally K. Ride became a national icon of achievement in science and space on June 18, 1983, when she became the first American woman to fly in space. Born in 1951 in suburban Encino, California, she took up tennis as a teenager and within a few years was ranked eighteenth nationally. In 1968, she enrolled at Swarthmore College as a physics major, but she dropped out after three semesters to train full-time at tennis. In 1970, Ride gave up tennis and entered Stanford University, where she took a double major in physics and English literature. She went on to complete a Masters and Ph.D. in physics from Stanford. Her doctoral dissertation dealt with the theoretical behavior of free electrons in a magnetic field.
While completing her Ph.D. in physics, she saw an announcement that National Aeronautics and Space Administration (NASA) was looking for young scientists to serve as mission specialists and she immediately applied. She passed NASA's preliminary process and became one of 208 finalists. Ride was flown to Johnson Space Center outside Houston for physical fitness tests, psychiatric evaluation, and personal interviews. Three months later, she was an astronaut and one of six women selected for the class of 1978.
While learning to use a new space shuttle remote manipulative arm for a future mission, Ride acted as backup orbit Capsule Communicator (CAPCOM) for STS-2 and prime orbit CAPCOM for STS-3. She was named a mission specialist on the seventh flight of the Space Shuttle Challenger in 1983. As a mission specialist in the first five-member Shuttle crew, she operated a variety of orbiter systems and experiment payloads; she participated in the launch of two commercial communications satellites and also operated the remote manipulator system arm to maneuver, release, and retrieve a free-flying satellite. Ride also flew on a second mission, STS-41G in 1984, again on the Challenger. She spent a total of more than 343 hours in space.
Ride's career and legacy extended well beyond her missions in space. Ride had completed eight months of training for her third flight (STS-61-M, a TDRS deployment mission) when the space shuttle Challenger disaster occurred, and she was named to the Rogers Commission (the presidential commission investigating the accident) and headed its subcommittee on operations. Following the investigation, Ride was assigned to NASA headquarters where she led a strategic planning effort for NASA that yielded the 1987 report NASA Leadership and America's Future in Space: A Report to the Administrator (also known as the Ride Report), and she served as the first chief of the new NASA Office of Exploration. In 1993, she was named to the Columbia Accident Board, appointed to investigate the causes and to recommend remedies after that tragic loss.
In 1987, Ride left NASA to become a full-time educator. She first worked at the Stanford University Center for International Security and Arms Control and in 1989 she became a professor of physics at the University of California, San Diego (UCSD) and Director of the California Space Institute. From the mid-1990s until her death, Ride led two public-outreach programs for NASA — the ISS EarthKAM and GRAIL MoonKAM projects, in cooperation with NASA's Jet Propulsion Laboratory and UCSD. The programs allowed middle school students to request images of the Earth.
Ride continued her endeavors to improve science education and encourage young people to study science through her independent initiatives as an author or co-author of seven books on space aimed at children, and as a co-founder of Sally Ride Science, a company founded in 2001 that creates entertaining science programs and publications for upper elementary and middle school students, with a particular focus on science education for girls.
Ride died on July 23, 2012, at the age of 61, seventeen months after being diagnosed with pancreatic cancer.
Provenance:
Gift of Tam O'Shaughnessy, received March 2014.
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Quotes and excerpts must be cited as follows: Oral history interview with David Avalos, 1988 June 16-July 5. Archives of American Art, Smithsonian Institution.
Topic:
Painters -- California -- San Diego -- Interviews Search this
American Crafts Council. Museum of Contemporary Crafts Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Thomas Tibbs, 1996 March 19-May 9. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Rita González, 2020 August 21. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Harry Sternberg, 1999 March 19-2000 January 7. Archives of American Art, Smithsonian Institution.
