National Endowment for the Arts. Visual Arts Program Search this
Extent:
177 Linear feet ((includes 60,000 slides and approximately 400 videos))
Type:
Collection descriptions
Archival materials
Video recordings
Slides (photographs)
Date:
1967-1997
Summary:
The collection documents over 5,270 artists who received awards from the National Endowment for the Arts national Visual Artists Fellowship Program and its companion regional programs from 1967 to 1997.
Scope and Contents:
The collection is comprised primarily of the visual documentation each artist submitted with their initial application and contains approximately 60,000 slides; approximately 400 video tapes and some audio tapes. Some files contain additional materials subsequently submitted by the artists, including resumes, personal statements, artists' books, and exhibition catalogs.
Awards given by media were: Painting (1,240); Sculpture (6,410), Photography (866); Craft (844); Works on Paper (600) and New Genres (480).
Artists represented include, from the first round (1967): Mark di Suvero, Dan Flavin, Sam Gilliam, Donald Judd, Agnes Martin, Robert Morris, Edward Ruscha, Tony Smith, and H. C. Westermann.
Artists from other years, include: Vito Acconci, Terry Allen, Gregory Amenoff, Laurie Anderson, Ida Applebroog, Robert Arneson, Richard Artschwager, Jennifer Bartlett, Joan Brown, Chris Burden, Scott Burton, Enrique Chagoya, John Chamberlain, Mel Chin, Chuck Close, Robert Colecott, Susan Crile, Robert Cumming, Guillermo Gomez-Pena, Felix Gonzalez-Torres, Nancy Graves, Hans Haake, Ann Hamilton, Gary Hill, Robert Irwin, Joan Jonas, Mike Kelley, Barry Le Va, Maya Lin, Mary Lucier, George Maciunas, Inigo Manglano-Ovalle, Mary Miss, Meredith Monk, Robert Moskowitz, Bruce Nauman, Alice Neel, Jim Nutt, Dennis Oppenheim, Tony Oursler, Nam June Paik, Judy Pfaff, Adrian Piper, Richard Prince, Martin Puryear, Charles Ray, Faith Ringgold, Susan Rothenberg, Nancy Rubins, Betye Saar, Judith Schaechter, Carolee Schneemann, Joel Shapiro, Alexis Smith, Nancy Spero, Francesc Torres, James Turrell, Richard Tuttle, Bill Viola, Carrie May Weems, Lawrence Weiner, Hannah Wilke, Fred Wilson, Jackie Winsor, Betty Woodman, and Bruce and Noman Yonemoto.
Among the photographers who were recipients of NEA awards and who are represented in the collection are: Robert Adams, John Baldessari, Harry Callahan, Sarah Charlesworth, William Christenberry, Larry Clark, Robert Cumming, William Eggleston, Lee Friedlander, Nan Goldin, Frank Gohlke, Sherry Levine, Helen Levitt, Robert Mapplethorpe, Joel Meyerowitz, Duane Michaels, Richard Misrach, Cindy Sherman, Aaron Siskind, Hiroshi Sugimoto and William Wegman.
In the field of craft, recipients represented include: John Cederquist, Dale Chihuly, Viola Frey, Michael Lucero, John McQueen, Judith Schaechter, Joyce Scott, Peter Voulkos, and Betty Woodman.
Arrangement:
Videos and slides are generally arranged alphabetically by artist name.
Historical Note:
In September 1965, President Lyndon Johnson signed legislation creating the National Endowment for the Arts. The agency's Visual Artists' Fellowship Program was launched in 1967 and embraced living American artists. Through grants or participation on review panels, the NEA's program reached many of the most influential and critically acclaimed artists of the 1960s, 1970s, and 1980s. Not infrequently, fellowships were awarded early in a career, providing a boost of cash and recognition at a key moment in the evolution of an artist's work.
Related Materials:
The original grant application files that accompanied these visual submissions were transferred from NEA offices to the National Archives and were part of Record Group 288 (identifier 598883). Per federal government record disposition schedules, the files were disposed of in 2014, twenty-five years after the program closed.
Provenance:
Transfer from the National Endowment for the Arts, 1997.
Restrictions:
The collection is open for research. Contact Photograph Archives, Smithsonian American Art Museum. Advance appointments are required.
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
Collection Citation:
William Jones World War II Scrapbook, NASM.2006.0067, National Air and Space Museum, Smithsonian Institution.
Scholars, historians, and archivists speak about their experiences working in archives and with archival materials, specifically negro, black, and African American records. W. Augustus Low speaks about his experience working in archives and with archivists as well as his work with the Freedmen Bureau records, and researching Civil Rights and Anthony Johnson (Jamestown colonist); he also speaks about other scholars who used archives for their articles published in the Journal of Negro History, which Low is editor. Harold Pinkett presents his paper about how records useful for research enter the documentary preserve designated as archives; the formation of the National Archives; early development of archival standards; and scattered government records related to black experience. Mary Frances Berry speaks about her good and challenging experiences working with National Archives records for her research on black soldiers, and later law and policing as related to African Americans. Elaine M. Smith explains her research on Mary McLeod Bethune using the National Archives. Roland C. Connell describes his experience working for the National Archives, and later researching Andrew Jackson and the negro soldier; he also speaks about his experience working with the archives at Morgan State College. Barry A. Crouch speaks about researching the Texas Freedmen's Bureau, Reconstruction, crime, black prisoners, and black schools in the National Archives. Andrew Billingsley talks about conducting research on slavery and the Freedmen's Bureau at the National Archives and Howard University. Herbert G. Gutman speaks about his research and work about black families and freedmen. Alex Haley talks about his study of African American families and working with archival material. Other scholars and archival professionals speak about using oral histories, specifically oral tradition and eyewitness accounts, to research Afro-American experience; using presidential libraries as a source for research on Afro-Americans; and the work of the special advisory committee to the National Historical Publication Commission, a committee on the publication on the papers of blacks.
Conference. Part of Conference Recordings. AV003052: part 1, dated 19730603. AV003539: part 2, dated 19730603. AV000825: part 3, dated 19730603 and 19730604. AV000813: part 4, dated 19730605. AV003048: part 5, dated 19730605. AV003072: part 6, dated 19730605. Presentations often continue onto the following recording.
Local Numbers:
ACMA AV003539
ACMA AV000825
ACMA AV000813
ACMA AV003048
ACMA AV003072
General:
Title transcribed from physical asset.
Collection 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 at acmarchives@si.edu.
Telegram with Birthday Greetings send to Senator James Oliver Eastland
Creator:
Institute on Race Relations (Washington, D.C.) Search this
Collection Collector:
Whitehead, Henry P. (Prenton), 1917-2002 Search this
Type:
Archival materials
Press releases
Place:
Washington, D.C. -- history
Date:
1945 November 27
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
The Kendall Productions records date from 1952-2006 with the bulk of material dating from 1997-2004 and measure 4.42 cubic feet. The records consist of material documenting the Kendall Productions documentary Dance Party: The Teenarama Story which first aired on Howard University's PBS affiliate WHUT in 2006. The records are comprised of research and production notes, government records, newspaper articles, questionnaires, photographs, letters, and scripts, accompanied by a significant amount of original media in the following formats: VHS and Beta videocassettes, audiocassettes, and audio compact discs.
Scope and Contents:
The records of Kendall Productions measure 4.6 cubic feet and date from 1952 to 2006, with the bulk of material dating from 1997-2004. The records contain the administrative files, research, project files, photographs, and audiovisual material produced during the creation of the documentary Dance Party: The Teenarama Story.
Administrative records include committee records, project assessments, budget files, promotional material, correspondence, and material related to individuals working on the documentary. Material within the series directly relate to the production processes of Dance Party: The Teenarama Story. Restricted files within the series have been indicated at the folder level. The administrative records were previously scattered throughout the collection.
Research files include biographical information, the history of television broadcasting in Washington D.C., community history, background on Teenarama, and race relations from 1940 through the 1960s. The research file subjects were originally labeled by the creators, and their subject designations have been maintained where relevant. Material includes newsclippings, informational booklets, notes, pamphlets, unpublished essays or write-ups, and prints of website pages.
Project files include interview transcripts and copies of questions for interviewees, documentary scripts, event fliers, equipment request forms, and realia. Event material relates to the production of Dance Party: The Teenarama Story, and not events related to the release or showings of the finished documentary.
Photographs document people who were a part of the Teenarama show, cast reunion events, and the documentary filming or recording processes. Folder titles were given by the creators and have been maintained. They are organized alphabetically by folder title.
Audiovisual material contains 63 items, a majority of which are VHS tapes. Material includes clips and edits of Dance Party: The Teenarama Story. Objects are listed alphabetically by their labels. Playback equipment is available.
Arrangement:
Kendall Productions Records is arranged in five series:
Series 1: Administrative Records
Series 2: Research Files
Series 3: Project Files
Series 4: Photographs
Series 5: Audiovisual Material
Historical Note:
The documentary film Dance Party: The Teenarama Story first broadcast in 2006 on the Howard University public television station WHUT in Washington D.C. The film traced the history and development of the television show Teenarama that aired from March 7, 1963 to November 20, 1970.
Teenarama originated as the Teenarama Dance Party radio program broadcast on WOOK Radio in Washington D.C. and became a television program after WOOK Radio received a license to operate a television station. The program premiered as a teen dance show for Black teenagers in the Washington D.C. and surrounding metropolitan area, featuring popular songs. The show's programming was first created by Cal Hackett and Al Jefferson. Bob King hosted the show from 1963-1965. Following King's departure, the show rotated hosts such as Leon Isaac Kennedy, Moon Man, and Daniel "Hollywood Breeze" Clayton. Guest performers on the show included James Brown, Smokey Robinson and The Miracles, Major Lance, Mary Wells, Aretha Franklin, Lou Rawls, Billy Stewart, Martha and The Vandellas, the Supremes, and the Four Seasons, among others. The program broadcasted live six days a week, the first of its kind in the country catering specifically to a Black audience.
The documentary about Teenarama was created by Beverly Lindsay-Johnson, Herb Grimes, and the National Hand Dance Association, and was funded in part by grants through the Humanities Council of Washington D.C.,The DC Commission on the Arts and Humanities, The Dudley Foundation and private donations. The film uses Teenarama to tell the story of teen dance television shows, youth and pop culture, race, and television history. The documentary is narrated by Martha Reeves of Martha and The Vandellas.
Provenance:
Donated by Beverly Lindsey-Johnson in 2006.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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.
Dance in motion pictures, television, etc. Search this
Genre/Form:
Photographic prints
Scripts (documents)
Notes
Audiocassettes
Compact discs
Research
Photographs
Questionnaires
Letters (correspondence) -- 20th century.
Interviews
Federal government records
Clippings
Videocassettes
Citation:
Kendall Productions records, Anacostia Community Museum Archives, Smithsonian Institution, gift of Beverly Lindsey-Johnson.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection consists of one letter and six music manuscripts by James H. "Eubie" Blake.
Scope and Contents:
The collection consists of one handwritten letter by Eubie Blake to Professor John Garvey, director of the University of Illinois Jazz Band, dated August 3, 1969. There are five undated manuscripts in Blake's hand of his arangements for the songs Manda, Poor Archie, Brittwood Rag, March of the Senegalese, and the W.C. Handy song, Yellow Dog Blues. In the letter Blake requests that Garvey, when playing any of these songs (for which he enclosed the manuscripts,) please mention his (Blake's) name as the arranger.
In the letter Blake also mentions Here Tis, but that manuscript was not included in this donation.
Arrangement:
Collection is arranged in one series.
Series 1: Letter and Music Manuscripts, 1969
Biographical / Historical:
James Herbert "Eubie" Blake, noted ragtime pianist, was born February 7, 1883 in Baltimore, Maryland. Some government records show his birth year as 1887. His parents Emily "Emma" Johnston and James Sumner Blake had formerly been enslaved. Blake was their only child to live to maturity. Blake learned to play the pump organ and the piano while still a young child. Blake began his career as a pianist, songwriter, and arranger in 1915 in Baltimore playing piano in Aggie Shelton's bordello. He formed a songwritng partnership with Noble Sissle in 1915. In 1921, their musical Shuffle Along became a hit on Broadway and ran for fourteen months. Blake's career spanned his entire life. Perhaps his most recognizable song, I'm Just Wild About Harry, is considered a standard of the American musical canon. His life was the subject of the Broadway musical, Eubie, that premiered in 1978.
Blake married twice first to Avis Elizabeth Cecelia Lee (1881-1939) the daughter of Lawrence and Florence Lee. After her death from tuberculosis in March 1939, Blake married Marion Gant Tyler (1896-1982), widow of Willie Tyler, violinist, and daughter of James H. Gant and Nattie Thomas, on December 27, 1945 in Norfolk, Virginia. Marion acted as his business manager until her death.
Blake died in Brooklyn, New York, on 1983 February 12. He and Marion are both buried in Cypress Hills Cemetery, Brooklyn, New York.
Sources
The New Grove Dictionary of Jazz, page 114. Death certificate for Avis Blake, dated 1939, New York, New York City Municipal Deaths, 1795-1949," database Family Search, accessed July 5, 2019
Certificate of Marriage for James Hubert Blake and Marion Louise Gant, dated 1945 December 27, Virginia Marriage Certificates, 1936-1988, Family Search, accessed July 5, 2019
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Lawrence Dwyer in 2016.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Color bookplate of battlefield scene. Two ribbons: 14th Regiment N.Y.S.M. Association and the 125th Regiment N.Y.S. Volunteers Bolton Post Drum Corps Bugler (1889).
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Postcard depicting gray-bearded member of the Grand Army of the Republic, postmarked June 3, 1909. Little girl stands on chair to pin medal on him. U.S. Flag and a medal (probably from the Grand Army of the Republic) are shown at left of image. The message side of the card is stamped, postmarked June 3, 1909, and addressed to Mr. H.A. Cook, West Leyden, Mass. The card is No. 158 in Raphael Tuck's "Decoration Day" series.
Local Numbers:
AC0060-0001258a (AC Scan No.: image side)
AC0060-0001258b (AC Scan No.: message side)
General:
Civil War Selections from the Archives Center
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Postcard depicting General Robert E. Lee, ca. 1894, montage of portrait of Lee in a circle, plus two battle scenes.
Local Numbers:
AC0060-0001257.tif (AC Scan No.)
General:
Civil War Selections from the Archives Center
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Banquet menu, Petersburg, Virginia, January 19, 1912, has halftone reproduction of portrait of Lee.
Local Numbers:
AC0060-0001256 (AC Scan No.)
General:
Civil War Selections from the Archives Center
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
