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Painting and portrait making in the American Northeast / editor, Peter Benes ; associate editor, Jane Montague Benes

Author:
Dublin Seminar for New England Folklife (19th : 1994)  Search this
Benes, Peter  Search this
Benes, Jane Montague  Search this
Physical description:
288 p. : ill., ports. ; 23 cm
Type:
Congresses
Place:
New England
Date:
1995
C1995
17th century
18th century
19th century
Topic:
Portrait painting  Search this
Folk artists  Search this
Painting from photographs  Search this
Social life and customs  Search this
Call number:
ND1311.5 .D82 1994
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_457759

Community Life Afro American Audiovisual Collection

Creator:
National Museum of American History (U.S.). Division of Community Life  Search this
South Carolina Commission for the Arts  Search this
Publisher:
Negro History Associates  Search this
Names:
Bennett, Mary Jane  Search this
Moultrie, Alvina  Search this
Nelson, "Scrape"  Search this
Rowe, Nellie Mae, 1900-1982  Search this
Simmons, Philip, 1912-  Search this
Smith, Irene  Search this
Extent:
0.66 Cubic feet
Type:
Collection descriptions
Archival materials
Audiotapes
Filmstrips
Interviews
Videotapes
Place:
South Carolina
Date:
1964-1976
Summary:
The history of the collection is unknown.
Scope and Contents:
The collection consists of one series that includes videotaped interviews with six southern African American folk artists (listed below), five filmstrips covering topics in African American history, and one audiotape. The videotaping project was funded by the South Carolina Commission for the Arts.

Interviewees Mary Jane Bennett, Low Country Basket Sewer Irene Brown Alvina Moultrie Scrape Nelson, Netmaker Nellie Mae Rowe, Folk Artist Phillip Simmons, Blacksmith
Biographical / Historical:
The history of the collection is unknown.
Provenance:
Transferred from the Division of Community Life in February 1986.
Restrictions:
Collection is open for research. Reference copies, when available, must be used. Access to this collection is limited because of the condition of the existing reference copies and the format of the original videotapes. A digital reference copy for Phillip Simmons: Blacksmith can be found in the Smithsonian Instsitution's Digital Asset Management System (DAMS).
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.
Topic:
African American artists -- South Carolina  Search this
Artisans -- South Carolina  Search this
Blacksmithing -- South Carolina  Search this
Basket making -- South Carolina  Search this
Domestic relations -- South Carolina  Search this
Handicraft -- South Carolina  Search this
Folk art, Black -- South Carolina  Search this
Nets -- South Carolina  Search this
Genre/Form:
Audiotapes
Filmstrips
Interviews -- 1970-1990
Videotapes -- 1970-1980
Citation:
Community Life Afro-American Audiovsual Collection, 1964-1976, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0201
See more items in:
Community Life Afro American Audiovisual Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8581efd21-f70e-4291-87dd-c70416e7fc63
EDAN-URL:
ead_collection:sova-nmah-ac-0201

Nellie Mae Rowe-Folk Artist

Collection Creator:
National Museum of American History (U.S.). Division of Community Life  Search this
South Carolina Commission for the Arts  Search this
Collection Publisher:
Negro History Associates  Search this
Extent:
1 Videoreels (1/2 inch) (Duration: 14:00 minutes, Helical scan)
1 Videocassettes (U-matic)
Container:
Box 1, Item AC0201-OV0005
Box 2 (Reference Videos: Various Collections box)
Type:
Archival materials
Videocassettes (u-matic)
Date:
1975 August
Scope and Contents:
Location: Vinings, Georgia
Collection Restrictions:
Collection is open for research. Reference copies, when available, must be used. Access to this collection is limited because of the condition of the existing reference copies and the format of the original videotapes. A digital reference copy for Phillip Simmons: Blacksmith can be found in the Smithsonian Instsitution's Digital Asset Management System (DAMS).
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:
Community Life Afro-American Audiovsual Collection, 1964-1976, Archives Center, National Museum of American History.
See more items in:
Community Life Afro American Audiovisual Collection
Community Life Afro American Audiovisual Collection / Series 1: Audiovisual Materials
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8262b6c00-16d1-4458-bd76-f6a5cda0fd71
EDAN-URL:
ead_component:sova-nmah-ac-0201-ref21

Lucinda Bunnen photographs of Nellie Mae Rowe, 1971-circa 1985

Creator:
Bunnen, Lucinda W.  Search this
Subject:
Rowe, Nellie Mae  Search this
Citation:
Lucinda Bunnen photographs of Nellie Mae Rowe, 1971-circa 1985. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
Women artists  Search this
Women photographers  Search this
Women sculptors  Search this
Self-taught artists--Georgia--Atlanta  Search this
Folk artists  Search this
Theme:
Women  Search this
African American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7174
(DSI-AAA_SIRISBib)209311
AAA_collcode_bunnluci
Theme:
Women
African American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209311
Online Media:

Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry

Creator:
McWillie, Judith  Search this
Names:
Hall, Dilmus, 1900-1987  Search this
Murry, J. B. (John B.), 1908-1988  Search this
Smith, Mary T. (Mary Tillman), 1904-1995  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Slides (photographs)
Video recordings
Date:
circa 1984-1986
Summary:
The videos and slides on African American folk artists Dilmus Hall, Mary T. Smith, and J.B. Murry measure 0.4 linear feet and date from circa 1984 to 1986. The collection includes recorded interviews conducted by art historian Judith McWillie with the artists about their lives and work, and color slides of Dilmus Hall and Mary T. Smith with their work.
Scope and Contents:
The videos and slides on African American folk artists Dilmus Hall, Mary T. Smith, and J.B. Murry measure 0.4 linear feet and date from circa 1984 to 1986. The collection includes recorded interviews conducted by art historian Judith McWillie with the artists about their lives and work, and color slides of Dilmus Hall and Mary T. Smith with their work.

The materials related to Dilmus Hall include a 1984 interview (dubbed in 1986) in which Hall covers many topics ranging from his childhood to religious influences in his work, as well as 41 color slides of Hall, his home, and his work.

Materials related to Mary T. Smith and J.B. Murry include an interview with Mary T. Smith in December 1986 and one with J.B. Murry in May 1986, both dubbed onto the same tape. Also included are 10 color slides of Mary T. Smith and her artwork.
Arrangement:
The collection is arranged in two series.

Series 1: Material Related to Dilmus Hall, circa 1984-1986 (Box 1; 0.2 linear feet)

Series 2: Material Related to Mary T. Smith and J.B. Murry, 1986 (Box 1; 0.2 linear feet)
Biographical / Historical:
Judith McWillie is an artist, art historian, and professor emeritus of drawing and painting at the Lamar Dodd School of Art of the University of Georgia. Much of her work focuses on African American artists.

Dilmus Hall (1900-1987) was a self-taught African American artist. Born in Georgia in 1900, he joined the United States Army Medical Corps in 1917 and served in Europe as a stretcher-bearer during World War I. After he returned to Georgia, he worked as a waiter and a fabricator of concrete blocks, retiring in 1961 to devote himself to art. Hall decorated his house and yard in Athens, Georgia with sculpted animals, devils, and humans, often based on biblical themes. He has also produced hundreds of drawings in a cartoon-like style.

Mary Tillman Smith (1904-1995) was an African American self-taught painter in Mississippi. Her work was often created on readily-available materials such as plywood and corrugated tin. Her work is included in collections at the Metropolitan Museum of Art and the Smithsonian American Art Museum.

J.B. (John Bunion) Murry (also Murray) (1908-1988) was a self-taught African American artist in Georgia. He worked as a sharecropper for the majority of his life. At the age of 70 he experienced a religious vision and began painting, producing an extensive body of work in ten years. Murry was illiterate, but developed his own script, which he incorporated into his paintings. His work is included in collections at the American Folk Art Museum and the Smithsonian American Art Museum.
Related Materials:
Also found in the Archives of American Art are J.B. Murray drawings, 1985 on microfilm reel 3667.
Provenance:
Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry were donated to the Archives of American Art by Judith McWillie in 1986 and 1987.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Judith McWillie. 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 -- Georgia  Search this
Topic:
African American art -- African influences  Search this
Sculptors  Search this
Women artists  Search this
African American artists  Search this
Self-taught artists  Search this
Folk artists  Search this
Genre/Form:
Interviews
Slides (photographs)
Video recordings
Citation:
Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry, circa 1984-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcwijudi
See more items in:
Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d52bd8fe-66c6-4963-a452-79e005934a72
EDAN-URL:
ead_collection:sova-aaa-mcwijudi

Lucinda Bunnen photographs of Nellie Mae Rowe

Creator:
Bunnen, Lucinda  Search this
Names:
Rowe, Nellie Mae, 1900-1982  Search this
Extent:
10 Items
Type:
Collection descriptions
Archival materials
Date:
1971-circa 1985
Summary:
The Lucinda Bunnen photographs of Nellie Mae Rowe measure 0.1 linear feet and date from 1971 to circa 1985. Included are nine photographs of African American folk artist Nellie Mae Rowe, dolls she created, and her home in Atlanta, Georgia. Bunnen took the photos of Rowe in 1971. Also included in the collection is a copy of Bunnen's resume.
Scope and Contents:
The Lucinda Bunnen photographs of Nellie Mae Rowe measure 0.1 linear feet and date from 1971 to circa 1985. Included are nine photographs of African American folk artist Nellie Mae Rowe, dolls she created, and her home in Atlanta, Georgia. Bunnen took the photos of Rowe in 1971. Also included in the collection is a copy of Bunnen's resume.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Lucinda Bunnen (1930- ) is a photographer in Atlanta, Georgia. Nellie Mae Rowe (1900-1982) was an African American self-taught folk artist in Atlanta, Georgia. She painted and created dolls and sculptures with wood and chewing gum. Rowe was also known for her "Playhouse," her home and yard, which she decorated with paintings, sculptures, stuffed animals, and found objects.
Provenance:
Lucinda Bunnen donated the photographs to the Archives of American Art in 1987.
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.
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:
Photographers -- Georgia -- Atlanta  Search this
Topic:
African American artists  Search this
Women artists  Search this
Women photographers  Search this
Women sculptors  Search this
Self-taught artists--Georgia--Atlanta  Search this
Folk artists  Search this
Citation:
Lucinda Bunnen photographs of Nellie Mae Rowe, 1971-circa 1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bunnluci
See more items in:
Lucinda Bunnen photographs of Nellie Mae Rowe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97b2f0ad6-9d47-41bd-ad4c-40b0ea8285de
EDAN-URL:
ead_collection:sova-aaa-bunnluci
Online Media:

Lucinda Bunnen photographs of Nellie Mae Rowe

Collection Creator:
Bunnen, Lucinda  Search this
Type:
Archival materials
Date:
1971-circa 1985
Scope and Contents:
Included are nine photographs of African American folk artist Nellie Mae Rowe, dolls she created, and her home in Atlanta, Georgia. Bunnen took the photos of Rowe in 1971. Also included in the collection is a copy of Bunnen's resume.
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:
Lucinda Bunnen photographs of Nellie Mae Rowe, 1971-circa 1985. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bunnluci, Series 1
See more items in:
Lucinda Bunnen photographs of Nellie Mae Rowe
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9874e37cb-aed9-4476-bd82-70478fa8c7f0
EDAN-URL:
ead_component:sova-aaa-bunnluci-ref4

Nina Howell Starr papers

Creator:
Starr, Nina Howell, 1903-2000  Search this
Names:
International Women's Art Festival  Search this
Museum of American Folk Art  Search this
Photographic Historical Society of New York  Search this
Professional Women's Photographers, Inc.  Search this
Sharon Arts Center  Search this
Southern Regional Council  Search this
Brandt, Helene, 1936-  Search this
Cohen, Stephenie  Search this
Coke, Van Deren, 1921-  Search this
Connor, Linda  Search this
Daitz, Evelyne Z.  Search this
DiSpirito, Henry, 1898-1995  Search this
Evans, Minnie, 1892-  Search this
Evans, Walker, 1903-1975  Search this
Ghent, Henri, 1926-  Search this
Kanaga, Consuelo, 1894-  Search this
Kernan, Margo, 1927-  Search this
Kruger, Louise, 1924-  Search this
Lippard, Lucy R.  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mainardi, Patricia  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Putnam, Wallace, 1899-1989  Search this
Ringgold, Faith  Search this
Rose, Ruth Starr, 1887-1965  Search this
Savage, Naomi, 1927-2005  Search this
Sherwood, Maggie, 1922-1984  Search this
Siskind, Aaron  Search this
Strand, Paul, 1890-1976  Search this
Szarwarski, John  Search this
Uelsmann, Jerry, 1934-  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Date:
circa 1933-1996
Summary:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.
Scope and Contents:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Biographical materials are scattered and include grant and publication applications, curriculum vitae, lists of artwork, and miscellany.

Starr's lectures, writings, and project files are arranged into one series. They include Starr's student writings, a notebook about Civil Rights, files documenting her work on a Florida public housing project, the Southern Regional Council, and the League of Women Voters. A few files of general writings and lectures mostly concern folk artist Minnie Evans and the exhibition Women Photograph Men, held at the International Women's Arts Festival in 1976.

Subject files on artists, art history topics, photographers and photography (including Starr's work), and on folk artist and friend Minne Evans comprise the bulk of the collection. The files are a mix of collated materials and primary sources created by Starr and others and many contain correspondence, notes, photographs, and a few sketches and orginal prints. Also included are materials related to professional and organizational groups in which Starr was involved, including the Professional Women's Photographers, Inc., the Photographic Historical Society of New York, and the Museum of American Folk Art; files on several of Starr's exhibitions; and files on artists that contain printed materials, correspondence, and photographs. The file on Ruth Starr Rose contains prints and drawings. There are also photographs taken by Stephanie Cohen. Particularly rich files are found for Stephanie Cohen; Van Deren Coke, Director of the George Eastman Company; Evelyn Daitz, Director of the Witkin Gallery; Henry DiSpirito; Walker Evans; the Fotofolio printing company; curator Henri Ghent; photographer Consuelo Kanaga and husband Wallace Putnam; Margot Starr Kernan; Lucy Lippard; Stanton Mac-Donald Wright; Sharon Arts Center; photographer Paul Strand; curator John Szarwarski; and photographer Jerry Uelsman.

The collection also documents the friendship between painter Minnie Evans and Starr, and Starr's business dealings on Evans' behalf. There is correspondence about and with Evans, several sound recordings of interviews conducted by Starr and others with Evans, many with transcripts, financial documents, publications about Evans including exhibition catalogs, clippings, journal articles and monographs, two posters, a scrapbook, and one sketch by Evans.

Printed material includes published articles, exhibition catalogs and announcements, and clippings about Starr.

Photographic materials are extensive and include photographs and slides taken by Starr of friends, family, artwork by Minnie Evans, events, exhibition openings, world travels, and folk art, especially roadside. Prominent artists and art historians photographed include: photographers Maggie Sherwood, Naomi Savage, Barbara Morgan, Linda Connor, Aaron Siskind, Consuelo Kanaga, Faith Ringgold, and Walker Evans; sculptors Louise Kruger and Helene Brandt; feminist and art historian Pat Mainardi; and curators Henri Ghent and John Szarkowski. Starr's artistic photographic work is also represented, and includes two silver gelatin prints of Minnie Evans, and subject studies on hands, people, and nature, among others.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Series 1: Biographical material, 1954-circa 1990 (8 folders; Box 1)

Series 2: Writings, Speeches and Projects, 1933-1995 (1.1 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1939-1996 (8.3 linear feet; Boxes 2-10)

Series 4: Minnie Evans, 1962-1996 (3.7 linear feet; Boxes 10-13, 23, OV 24)

Series 5: Printed Material, 1936-1995 (2.7 linear feet; Boxes 13-16, 23)

Series 6: Photographic Material, circa 1939-1993 (5.4 linear feet; Boxes 16-23, OV 24)
Biographical / Historical:
Nina Howell Starr (1903-2000) was a photographer, art dealer, and art historian who worked primarily in New York City. Born in Newark, New Jersey in 1903 as Cornelia Margaret Howell, Starr attended Wellesley College and graduated from Barnard in 1926. Also in 1926, she married Nathan Comfort Starr, an English professor, and, over the years the couple lived in Massachusetts, Maryland, Florida, and New York City.

In 1963, at the age of 60, Starr received the first M.F.A. in photography granted by the University of Florida. Starr exhibited widely in both solo and group exhibitions, including Magic Lantern (Photographer's Gallery, London, 1976), and the Strength of Women (Witken Gallery, 1991), and numerous shows featuring photographs of outsider art. Her "New Yorker" project became an exhibition in 2016. Her work is owned by several prominent museums, including the Metropolitan Museum of Art and the George Eastman House International Museum of Photography.

As art historian, self-proclaimed critic, and civil rights and feminist advocate, Starr lectured widely, wrote articles and letters to editors, and corresponded with many notable art world figures. She became especially interested in outsider and folk art. Starr met outsider artist Minnie Evans in 1962 and became Evans' lifelong friend, advocate, and representative dealer. She wrote about Evans and introduced Evans' works to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated an exhibition of Evans' work in 1975.

Starr was an active member of professional organizations including the Photographic Historical Society of New York, Professional Women's Photographers, Inc., and the Museum of American Folk Art where she served on the Advisory Committee.

Nina Howell Starr died in 2000 in Connecticut at the age of 97.
Provenance:
The Nina Howell Starr papers were donated by Nina Howell Starr in 1996.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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.
Occupation:
Art historians -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Topic:
Folk art  Search this
Civil rights  Search this
African American art  Search this
Folk art -- Photographs  Search this
Women photographers  Search this
Photography  Search this
African American artists  Search this
Genre/Form:
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Citation:
Nina Howell Starr papers, circa 1933-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.starnina
See more items in:
Nina Howell Starr papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dccd352c-b391-49d6-ae20-8b00e1e280d3
EDAN-URL:
ead_collection:sova-aaa-starnina
Online Media:

Andy Nasisse files relating to self-taught artists

Creator:
Nasisse, Andy S., 1946-  Search this
Names:
Bailey, E. M. (Eldren M.)  Search this
Carpenter, Miles B. (Miles Burkholder), 1889-  Search this
Carroll, Tessie  Search this
Damonte, Emanuel "Litto", d. 1985  Search this
Dinsmoor, Samuel Perry, 1843-1932  Search this
Doyle, Sam, 1906-1985  Search this
Ehn, John Henry, 1896-1981  Search this
Finster, Howard, 1916-2001  Search this
Forester, Laura Pope, 1873-1953  Search this
Hall, Dilmus, 1900-1987  Search this
Hall, Irene Gibson, ca. 1895-1983  Search this
Harvey, Bessie, 1929-  Search this
McKissack, Jeff, 1902-1980  Search this
Milkovitch, John, 1912-1988  Search this
Murry, J. B. (John B.), 1908-1988  Search this
Prisbrey, Tressa  Search this
Pugh, Dow, 1906-  Search this
Ratcliffe, W. T., 1882-1956  Search this
Rice, William Carlton, 1930-2004  Search this
Robertson, Royal  Search this
St. EOM, 1908-1986  Search this
Thomas, Son, 1926-1993  Search this
Tolliver, Mose, 1920-  Search this
Van Zant, Frank, 1911-1989  Search this
Zoetl, Joseph, 1878-1961  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Video recordings
Date:
circa 1979-circa 1986
Summary:
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.

The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Scope and Contents:
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.

The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Biographical / Historical:
Andy Nasisse (1946-) is a ceramicist sculptor, potter, and former professor at the University of Georgia. Starting in the 1970s, he visited self-taught artists and photographed their art, environments and, in some cases, conducted interviews with them. He has had a solo exhibition at the Museum of Contemporary Art Georgia and is the recipient of the Art Regional Fellowship from the National Endowment for the Arts.

Miles Carpenter (also known as Miles Burkholder Carpenter or Miles B. Carpenter) (1889-1985) was a sculptor active in Waverly, Virginia who carved figures and animals from wood and referred to some as "advertisements."

Tessie Carroll was an Oklahoma folk artist known for her rock sculptures and carvings.

Eldren M. (E.M.) Bailey (1903-1987) was an African American sculptor and painter from Atlanta, Georgia whose sculptures were influenced from his background making grave markers.

Emanuel "Litto" Damonte (1892-1985) started collecting hubcaps in 1957 and created an art environment on his property in Napa Country, California, known as Hubcap Ranch.

Samuel Perry (S.P). Dinsmoor (1843-1932) was a Kansan sculptor who designed a sculpture garden at his home called the Garden of Eden," consisting of over 200 concrete works reflecting his religious and political beliefs.

Sam Doyle (1906-1985) was an African American artist born on St. Helena, an island off the coast of South Carolina, whose colorful paintings document the island's people and Gullah culture.

John Ehn (1887-1981) was a former trapper turned sculptor who decorated the landscape of his Californian motel, Old Trapper's Lodge, with sculptures depicting myths and the Old West.

Howard Finster (1916-2001) was a Georgian folk artist and Baptist minister known for his former home, Paradise Garden, consisting of constructions, found objects and sculptures.

Laura Pope Forrester (1873-1953) was a sculptor who created figurative works in her Georgian garden that depicted notable women and fictional characters.

Dilmus Hall (1896-1987) was an African American artist whose sculptural works are associated with religious customs that combine African traditions and Christianity.

Irene Hall was an Oklahoman artist who decorated her home with sculptural works she had made with found objects.

Bessie Harvey (1929-1994) was an African American folk artist from Tennessee who created wooden sculptures often inspired by nature.

Eddie Owens Martin "St. EOM" (1908-1986) was a Georgian artist who created a visionary art environment called Pasaquan.

Jeff McKissack (1902-1980) is the creator of The Orange Show, an art environment constructed in Houston Texas to honor his favorite fruit.

John Milkovitch (1912-1988) was a retired upholsterer who constructed the Beer Can House, by decorating his home with over 50,000 fattened beer cans.

J. B. Murry (1910-1988) (also known as J.B. Murray) was an African American painter who incorporated illegible text in his work which he interpreted with the use of a bottle of well water.

Tressa "Grandma" Prisbrey (1896-1988) constructed numerous structures out of bottles and found objects at her home creating what became known as Grandma Prisbrey's Bottle Village.

Dow Pugh (1906-1993) was an artist from Tennessee who created paintings and sculptural works.

W. T. Ratcliffe was an engineer who, in the 1930s created sculptures in Boulder Park in Jacumba, California.

William Carlton Rice (1930-2004) was a self-ordained minister who created a Cross Garden around his home in Alabama.

Royal Robertson (1936-1997) was an African American artist and self-proclaimed prophet from Louisiana whose work incorporated biblical themes, and references to "girlie magazines" and comic strips.

James "Son Ford" Thomas (1926- 1993) was an African American sculptor and blues musician from Mississippi who is known for his clay skull sculptures.

Mose Tolliver (1919-2006) was an African American folk painter from Alabama who painted with house paint on wood.

Frank van Zant "Chief Rolling Mountain Thunder" (1921-1989) was an Oklahoman artist who created a park in Nevada dedicated to the American Indian known as Thunder Mountain Monument.

Brother Joseph Zoettl (1878-1961) was a monk who constructed a miniature city of famous religious buildings at St. Bernard Abbey known as Ave Maria Grotto.
Related Materials:
Also found in the Archives of American Art are the Photographs and videos of self-taught artists; Willie Ann Wright photographs; Howard Finster papers; John F. Turner research material on Howard Finster; Howard Finster interview and recordings; Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry; Willem Volkersz interviews; and J. B. Murray drawings. There is also an oral history interview with Howard Finster conducted by Liza Kirwin in 1984.

The California State University, Channel Islands holds the Prisbrey bottle village collection. The University of North Carolina at Chapel Hill holds the Judith McWillie papers. The University of Georgia Special Collections Libraries holds the Howard Finster collection and the Howard Finster Tapes.
Provenance:
The Andy Nasisse files relating to self-taught artists were donated to the Archives of American Art by Andy Nasisse in 1985.
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:
Video on J.B. Murray: Authorization to publish, quote, or reproduce requires written permission from Andy Nasisse. 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:
Educators -- Georgia  Search this
Folk artists  Search this
Ceramicists -- Georgia  Search this
Potters -- Georgia  Search this
Topic:
Self-taught artists  Search this
African American artists  Search this
Genre/Form:
Sound recordings
Video recordings
Citation:
Andy Nasisse files relating to self-taught artists, circa 1979-circa 1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nasiandy
See more items in:
Andy Nasisse files relating to self-taught artists
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw925d29844-be82-4471-9907-9d477d264625
EDAN-URL:
ead_collection:sova-aaa-nasiandy

Oral history interview with Walter Clemmons

Interviewee:
Clemmons, Walter, 1956-  Search this
Interviewer:
Lindsey, Jack  Search this
Extent:
65 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1990 July 26
Scope and Contents:
An interview of Walter Clemmons conducted 1990 July 26, by Jack Lindsey for the Archives of American Art Philadelphia Project.
Clemmons speaks about the development of his wire art beginning with his work as a child; individual pieces created throughout his career including subjects and their sources; technical issues such as materials and methods; and his exhibition history.
Biographical / Historical:
Walter Clemmons (1956- ) is a sculptor from Philadelphia, Pennsylvania.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 27 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Sculptors -- Pennsylvania -- Philadelphia  Search this
Folk artists -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, American  Search this
Sculpture -- Technique -- Pennsylvania -- Philadelphia  Search this
African American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.clemmo90
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95a330df6-8d12-4560-8689-637c8a16c4e2
EDAN-URL:
ead_collection:sova-aaa-clemmo90
Online Media:

Oral history interview with William Dawson

Interviewee:
Dawson, William, 1901-1990  Search this
Interviewer:
Blum, Betty  Search this
Names:
Brown, Roger, 1941-1997  Search this
Kind, Phyllis, 1933-2018  Search this
Extent:
173 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1990 April 11-23
Scope and Contents:
An interview of William Dawson conducted 1990 April 11-23, by Betty Blum, for the Archives of American Art.
Dawson speaks of his childhood in Alabama; coming to Chicago in 1923; working as a porter and janitor; the beginnings of his art career after retiring in 1965; making carvings from found objects; the process of discovering and creating forms; his first exhibition at the Lincoln Park Public Library; his first sales to collectors, including Phyllis Kind and Roger Brown; gaining exposure through collectors and eventually getting discovered; the beginning of his work in painting; his exhibition at the Corcoran in 1982; work methods; and inspirations and ideas.
Biographical / Historical:
William Dawson (1901-1990) was a self-taught painter and sculptor from Chicago, Illinois. Dawson was born in 1901 in Huntsville, Alabama, came to Chicago in 1923, and after retiring from a career as a janitor and porter, he began sculpting and painting. He died July 1, 1990.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 58 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Illinois -- Chicago -- Interviews  Search this
Folk artists -- Illinois -- Chicago -- Interviews  Search this
Topic:
Art, American  Search this
African American artists  Search this
Sculptors -- Illinois -- Chicago -- Interviews  Search this
Self-taught artists -- Illinois -- Chicago -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.dawson90
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b5681b44-bbab-435a-a52d-e816026b7eac
EDAN-URL:
ead_collection:sova-aaa-dawson90
Online Media:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife

Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Names:
Smithsonian Folklife Festival  Search this
Extent:
1 Cubic foot (approximate)
Type:
Collection descriptions
Archival materials
Digital images
Audiocassettes
Audiotapes
Photographic prints
Contracts
Notes
Correspondence
Plans (drawings)
Memorandums
Business records
Negatives
Video recordings
Videotapes
Sound recordings
Slides (photographs)
Place:
Caribbean Area
Latin America
Date:
July 1-10, 1994
Summary:
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1994 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Commonwealth of The Bahamas

Series 3: Culture and Development in Latin America and the Caribbean

Series 4: Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows

Series 5: Thailand: Household, Temple Fair & Court
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1994 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1994 Festival featured four programs. In The Bahamas program, Americans could find intriguing connections to a shared history embodied in the traditions of the descendants of Africans, free and enslaved, British Loyalists, Seminoles, and many other immigrants. More than just beautiful sun, sea, and sand, The Bahamas, and especially its Family Islands, are home to a rich diversity of cultural communities and practices. Also on the Mall, yet half a world away, was Thailand, a nation that never acceded to colonial rule and whose ancient traditions are very much alive in contemporary households, temples, and the royal court. Given the growing economic and political importance of Asia and the Pacific Rim, visitors had the opportunity to better understand Thailand's cultural traditions. The program on Culture and Development, a collaborative effort with the Inter-American Foundation, recognized the value of local cultural resources and practitioners and their role in development efforts. A strategy of appropriately utilizing a community's cultural resources often succeeds not only in stimulating economic growth, but also in promoting self-worth and popular participation in civic life. The program on Masters of Traditional Arts paid tribute to National Heritage Fellowship awardees from 17 states representing a broad range of American traditions. The awards, made annually by the National Endowment for the Arts, honor our human national treasures, those exemplary folk artists whose work expresses the history, identity, beliefs, and values of their communities.

These programs were seen by Smithsonian organizers as more than just separate living exhibits. As a whole, they demonstrated convincingly that across the United States and around the world, traditional culture was with us, not just as atomistic survivals, but as part of social fabrics woven by individuals, communities, and nations. The folks at the Festival live contemporary lives. They are just as contemporary as the genetic engineer, cable television network shopper, or government bureaucrat. The traditions they carry are embedded in modern life. Yes, sometimes we find these traditions are on the margins, but most often they are in an ongoing, creative tension with new innovations and technical and social changes. These traditional ways of doing, making, and being are continually, sometimes even daily, reinvented and applied to the circumstances of individual and institutional life. Innovation and tradition are not opposites, but are processually related to how we use our cultural inheritance - whether that be in music or the museum, handicraft or statecraft - to define and shape the future. The dialogue created at the Festival, in which cultural traditions were respectfully presented, discussed, and even passed along, was therefore considered to be vital to our continued civic health.

On the second day of the 1994 Festival, its founder Ralph Rinzler passed away after a long illness. On July 7, 1994, a memorial service was organized by Ralph's friends and associates (see the recordings in the Masters of Traditional Arts program). Clydia and Reeves Nahwooksy provided a Comanche Baptist invocation. Mile Seeger, Guy Carawan, and Bill Monroe played and sang. Bernice Reagon sang, as did the Bahamians. Bess Hawes, Jeffrey LaRiche, Ann Romano, and James Early spoke of his legacy. Memorial messages were read from Pete Seeger, Alan Lomax, Henry Glassie, Roger Abrahams, Rajeev Sethi, and others. Lucille Dawson spoke about the profound effects the Festival's Native American programs had had on Indian education and civil rights, and Mike Thomas spoke for the Smithsonian custodians who always found in Ralph a friend and supporter. Other impromptu memorials were conducted by the Bahamian and Thai participants.

The 1994 Festival took place during two four-day weeks (July 1-4 and July 7-10) between Madison Drive and Jefferson Drive and between 12th Street and 14th Street, south of the National Museum of American History (see site plan).

The 1994 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Richard Kennedy, Program Analyst; Carla Borden, John Franklin, Program Managers; Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Folklorists/Curators; Betty Belanus, Education Specialist; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Research Collaborators

Folklife Advisory Council

Roger Abrahams, Jacinto Arias, Jane Beck, Pat Jasper, Barbara Kirshenblatt-Gimblett, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Forms Part Of:
Smithsonian Folklife Festival records: 1994 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
Topic:
World music  Search this
Folklore  Search this
Food habits  Search this
Folk art  Search this
Folk festivals  Search this
arts and crafts  Search this
Folk music  Search this
Genre/Form:
Digital images
Audiocassettes
Audiotapes
Photographic prints
Contracts
Notes
Correspondence
Plans (drawings)
Memorandums
Business records
Negatives
Video recordings
Videotapes
Sound recordings
Slides (photographs)
Citation:
Smithsonian Folklife Festival records: 1994 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1994
See more items in:
Smithsonian Folklife Festival records: 1994 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5ddc8ca3e-7575-4fbe-aeaa-f2be18f19d0d
EDAN-URL:
ead_collection:sova-cfch-sff-1994

Joyce J. Scott papers

Creator:
Scott, Joyce J., 1948-  Search this
Names:
Scott, Elizabeth Talford, 1916-2011  Search this
Extent:
9.1 Linear feet
Type:
Collection descriptions
Archival materials
Performances (creative events)
Sketchbooks
Interviews
Sound recordings
Video recordings
Photograph albums
Date:
1914-2019
bulk 1970s-2000s
Summary:
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce J. Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s, and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Scope and Contents:
The papers of African American sculptor, jewelry maker, quilter, and performance artist Joyce J. Scott measure 9.1 linear feet and date from 1948 to 2019, with the bulk of the material dating from the 1970s to the 2000s and individual materials from 1914 to 1915, and from 1932. The collection consists of biographical material; correspondence; writings; professional files, including exhibition and project files, born-digital materials, and gallery records; printed material; photographic material, including photo albums; artwork; and audiovisual material, including recordings of performances and lectures.
Arrangement:
This collection is arranged as eight series.

Series 1: Biographical Material, 1948-1977, 1989-2015 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1972-2014 (Box 1; 0.5 linear feet)

Series 3: Writings, circa 1970-circa 2000s, undated (Box 1-2; 0.3 linear feet)

Series 4: Professional Files, 1970s-circa 2013 (Box 2, OV 10; 0.9 linear feet)

Series 5: Printed Material, 1914-1915, 1932, 1953-2018 (Box 3-5, OV 10; 2.5 linear feet)

Series 6: Photographic Material, 1971-2019 (Box 5; 0.2 linear feet)

Series 7: Artwork, 1987-1989, 1998-2006, undated (Box 5; 0.1 linear feet)

Series 8: Audiovisual Material, 1983-2006, undated (Boxes 5-9; 4.2 linear feet)
Biographical / Historical:
Joyce J. Scott (1948- ) is an African American sculptor, jewelry maker, quilter, and performance artist in Baltimore, Maryland. She is best known for her use of off-loom bead weaving techniques to depict the complexities of race, gender, and class. Born in 1948, Scott is the daughter of quilter and folk artist Elizabeth Talford Scott, from whom she learned quilting. She earned a Bachelor of Fine Art from the Maryland Institute College of Art, and Master of Fine Art from the Instituto Allende in San Miguel de Allende in Mexico. In 2016, Scott was named a MacArthur Fellow, and she was named the Smithsonian Visionary Artist in 2019. Her work is held in permanent collections across the country, including at the Baltimore Museum of Art, the Spencer Museum of Art at the University of Kansas, the Museum of Fine Arts in Boston, and the Smithsonian American Art Museum.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Joyce J. Scott, 2009 July 22 conducted by Robert Silberman.
Provenance:
The papers were donated to the Archives of American Art in 2019 by Joyce J. Scott as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation.
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 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.
Occupation:
Sculptors -- Maryland -- Baltimore  Search this
Performance artists -- Maryland -- Baltimore  Search this
Quiltmakers -- Maryland -- Baltimore  Search this
Jewelers -- Maryland -- Baltimore  Search this
Topic:
African American artists  Search this
Women artists  Search this
African American quiltmakers  Search this
Women performance artists  Search this
Women sculptors  Search this
Women jewelers  Search this
Genre/Form:
Performances (creative events)
Sketchbooks
Interviews
Sound recordings
Video recordings
Photograph albums
Citation:
Joyce J. Scott papers, 1914-2019. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.scotjoyc
See more items in:
Joyce J. Scott papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d4e05ecc-bf00-40f5-8557-82922aa175ce
EDAN-URL:
ead_collection:sova-aaa-scotjoyc

Various Folk Artists: Jean Ritchie, Cisco etc

Performer:
Leadbelly, 1885-1949  Search this
Ritchie, Jean  Search this
Houston, Cisco  Search this
Summers, Andrew Rowan  Search this
Dyer-Bennet, Richard  Search this
James, Karen  Search this
Seeger, Pete, 1919-2014  Search this
Seeger, Peggy, 1935-  Search this
Warner, Frank, 1903-1978  Search this
Watson, Doc  Search this
Cotten, Elizabeth  Search this
Collection Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Extent:
1 Sound recording (sound-tape reel, analog, 10 in.)
Culture:
Americans  Search this
Anglo-American  Search this
Type:
Archival materials
Sound recordings
Place:
Appalachian Region, Southern -- Songs and music
United States
New York
Kentucky
Delaware
California
Louisiana
North Carolina
Deep Gap (N.C.)
Washington (D.C.)
Contents:
Jean Ritchie--Shady grive; Cisco Houston--900 miles--Andrew Rowan Summers--Shenandoah--Lead Belly-Meeting at the building; Richard Dyer-Bennet--I go no more a-roving; Jean Ritchie--Pretty Polly; Wagoner's lad; Karen James--Molly Malone; Pete Seeger--Wayfaring stranger; Peggy Seeger-When I first came to town; Frank Warner--Haul away Joe; Doc Watson--Wabash cannonball--unk--Roll in my sweet baby's arms; Peggy Seeger--unk; Cisco Houston--Drill, you tarriers drill; Richard dyer-Bennet--Four Marys; Jean Ritchie--Barbara Allen; Elizabeth Cotten--Babe it ain't no lie
Track Information:
101 Shady Grove / Jean Ritchie. Appalachian dulcimer.

106 Pretty Polly / Jean Ritchie. Appalachian dulcimer.

119 Barbara Allen (Child No. 84)/ Jean Ritchie. Appalachian dulcimer.

102 900 Miles / Cisco Houston. Guitar.

117 Drill, Ye Tarriers Drill / Cisco Houston. Guitar.

103 Shenandoah / Andrew Rowan Summers. Guitar.

105 I Go No More A-Roving / Richard Dyer-Bennet. Guitar.

118 The Four Marys / Richard Dyer-Bennet. Guitar.

104 Meeting at the Building / Lead Belly. Guitar.

107 Wagoner's Lad / Guitar.

108 Molly Malone / Karen James. Guitar.

110 The Wayfaring Stranger / Pete Seeger. Banjo.

111 When I First Came to Town / Peggy Seeger. Banjo.

112 Haul Away Joe / Frank Warner. Guitar.

113 Wabash Cannonball / Doc Watson. Guitar.

114 Unknown / Doc Watson. Guitar.

115 Roll in My Sweet Baby's Arms / Doc Watson. Guitar.

116 Unknown / Peggy Seeger. Banjo.

120 Babe It Ain't No Lie / Elizabeth Cotten. Guitar.
Local Numbers:
FW-ASCH-10RR-0153
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Topic:
Folk songs -- United States  Search this
Folksong revival  Search this
Blues (Music)  Search this
Appalachian dulcimer  Search this
Guitar  Search this
Banjo  Search this
African Americans  Search this
Collection Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH, Item FW-ASCH-10RR-0153
See more items in:
Moses and Frances Asch Collection
Moses and Frances Asch Collection / Series 9: Audio Recordings / CD / CDR copy
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk55fe5aef2-8789-4c37-9191-6a2e80487c88
EDAN-URL:
ead_component:sova-cfch-asch-ref18668

Willem Volkersz interviews

Creator:
Volkersz, Willem  Search this
Names:
Finster, Howard, 1916-2001  Search this
Howard, Jesse, 1885-1983  Search this
St. EOM, 1908-1986  Search this
Extent:
2.6 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Date:
1975-1985
Summary:
The Willem Voklersz interviews measure 2.6 linear feet and date from 1975-1985. The collection consists of twenty-nine sound cassettes containing thirty-one interviews of folk artists conducted by Volkersz for a personal research project, a monologue, and readings by Volkersz of notes on individual artists. Subjects include folk artists such as Howard Finster, Jesse Howard, and St. EOM (Eddie Owens Martin). Also found are thirty-seven transcripts of the recordings.
Scope and Contents:
The Willem Voklersz interviews measure 2.6 linear feet and date from 1975-1985. The collection consists of twenty-nine sound cassettes containing thirty-one interviews of folk artists conducted by Volkersz for a personal research project, a monologue, and readings by Volkersz of notes on individual artists. Subjects include folk artists such as Howard Finster, Jesse Howard, and St. EOM (Eddie Owens Martin). Also found are thirty-seven transcripts of the recordings.
Arrangement:
The collection is arranged as one series.
Biographical / Historical:
Willem Volkersz is a teacher, collector, and sculptor of Bozeman, Montana, who was born in Holland and came to the United States following World War II. He completed his education at the University of Washington in 1965, and completed a Masters of Fine Art at Mills College in 1967.

Volkersz began researching and collecting work by visionary and naive artists while a professor at the Kansas City Art Institute. His collection is now at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, and the Missoula Art Museum, in Missoula, Montana.
Provenance:
Sound recordings of the Willem Volkersz interviews were donated to the Archives of American Art in 1986 by Willem Volkersz, who made them primarily for his own use as a researcher, collector and teacher of folk art. They were transcribed in 1989 for the Archives of American Art by Toni Reineke.
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:
Folk artists -- United States  Search this
Educators -- Montana -- Bozeman  Search this
Collectors -- Montana -- Bozeman  Search this
Sculptors -- Montana -- Bozeman  Search this
Topic:
African American artists  Search this
Genre/Form:
Interviews
Sound recordings
Citation:
Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institute.
Identifier:
AAA.volkwill
See more items in:
Willem Volkersz interviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92cd85520-ddfd-461a-a903-0ce2e9ec11bc
EDAN-URL:
ead_collection:sova-aaa-volkwill

Interviews

Collection Creator:
Volkersz, Willem  Search this
Extent:
2.6 Linear feet
Type:
Archival materials
Date:
1975-1985
Scope and Contents:
The collection consists of twenty-nine sound cassettes containing thirty-one interviews of folk artists conducted by Volkersz for a personal research project, a monologue, and readings by Volkersz of notes on individual artists. Subjects include folk artists such as Howard Finster, Jesse Howard, and St. EOM (Eddie Owens Martin). Also found are thirty-seven transcripts of the recordings.
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:
Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institute.
Identifier:
AAA.volkwill, Series 1
See more items in:
Willem Volkersz interviews
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95014e93f-aa8b-46cd-b258-17cf0c316a56
EDAN-URL:
ead_component:sova-aaa-volkwill-ref1

Documentary on Clementine Hunter

Creator:
Hunter, Clementine  Search this
Names:
Fagaly, William A.  Search this
Gasperi, Richard  Search this
Whitehead, Thomas  Search this
Extent:
2 Videocassettes (videocassettes (80 min.), sd., col., 3/4 in.)
Type:
Collection descriptions
Archival materials
Videocassettes
Video recordings
Interviews
Date:
1985
Scope and Contents:
Unedited video footage produced by Didi Barret of the Museum of American Folk Art with the assistance of Richard Gasperi of the Gasperi Folk Art Gallery, New Orleans, La. Footage includes views of Hunter's murals in the "African House" at Melrose Plantation in Natchitoches, La., with comments by Hunter's friends Thomas Whitehead and Mildred Bailey; an interview of Hunter conducted by Whitehead on April 21, 1985; views of 27 sketches from Hunter's 1945 sketchbook with comments by art dealer Richard Gasperi; and a tour of the New Orleans Museum of Art's exhibition, "A New Orleans Salute to Clementine Hunter's Centennial," narrated by curator William Fagaly.
Biographical / Historical:
Clementine Hunter (1886 or 1887-1988) was an African American folk artist in Natchitoches Parish, Louisiana.
Provenance:
Donated 1986 by Richard Gasperi, owner of the Gasperi Folk Art Gallery in New Orleans
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.
Occupation:
Folk artists -- Louisiana  Search this
Self-taught artists -- Louisiana  Search this
Topic:
Women artists  Search this
African American artists  Search this
African American painters  Search this
Women painters  Search this
Genre/Form:
Video recordings
Interviews
Identifier:
AAA.huntclem
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f2129d35-9712-4695-ad0b-7fb149d9c2fe
EDAN-URL:
ead_collection:sova-aaa-huntclem

Peter Hunt papers, 1788-1968

Creator:
Hunt, Peter, 1896?-1967  Search this
Subject:
Sorel, Cécile  Search this
Type:
Scrapbooks
Citation:
Peter Hunt papers, 1788-1968. Archives of American Art, Smithsonian Institution.
Topic:
Greeting cards  Search this
Decorative arts  Search this
Furniture design  Search this
Theme:
Craft  Search this
Architecture & Design  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)5763
(DSI-AAA_SIRISBib)208602
AAA_collcode_huntpete
Theme:
Craft
Architecture & Design
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208602

Documentary on Clementine Hunter, 1985

Creator:
Hunter, Clementine  Search this
Subject:
Gasperi, Richard  Search this
Fagaly, William A.  Search this
Whitehead, Thomas  Search this
Type:
Video recordings
Interviews
Citation:
Documentary on Clementine Hunter, 1985. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
African American artists  Search this
African American painters  Search this
Women painters  Search this
Theme:
Women  Search this
African American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7219
(DSI-AAA_SIRISBib)209356
AAA_collcode_huntclem
Theme:
Women
African American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209356

Betty Carpenter papers, 1919-1965

Creator:
Carpenter, Betty  Search this
Subject:
Frost, John Orne Johnson  Search this
Lothrop, George E.  Search this
Type:
Scrapbooks
Citation:
Betty Carpenter papers, 1919-1965. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting  Search this
Women art historians  Search this
Marine painting  Search this
Folk art  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)7345
(DSI-AAA_SIRISBib)209498
AAA_collcode_carpbett
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209498

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