The papers of Chicano painter and commercial artist Charles "Chaz" Bojórquez measure 5.9 linear feet and 98.44 GB and date from 1956 to 2017. The collection documents Bojórquez's career as an artist through professional files, writings and notes, project books, printed and digital material, artwork, and photographic material.
Scope and Contents:
The papers of Chicano painter and commercial artist Charles "Chaz" Bojórquez measure 5.9 linear feet and 98.44 GB and date from 1956 to 2017. The collection documents Bojórquez's career as an artist through professional files, writings and notes, project books, printed and digital material, artwork, and photographic material.
Professional files primarily include correspondence with attached business records or press clippings regarding Bojórquez's involvement with graffiti groups. Writings by Bojórquez include writings on graffiti, interview responses, transcripts of talks, and notes. Project books were compiled by Bojórquez to document commercial projects for companies such as Fendi, Reebok, Disney, MTV, and Vans and include drawings, notes, travel documents, price lists and other materials. Printed material primarily includes published designs by Bojórquez. The collection also includes approximately 14 sketchbooks and four portfolios containing drawings and designs by Bojórquez, as well as photographic materials depicting Bojórquez with his friends and family and his artwork. All series contain materials in digital format.
Arrangement:
The collection is arranged as six series.
Series 1: Professional Files, 1970-2008 (Boxes 1, 8; 0.5 linear feet, ER01-ER04; 2.86 GB)
Series 2: Writings and Notes, circa 1985-2015 (Box 1; 0.2 linear feet, ER05-ER12, ER95-ER105; 25.52 GB)
Series 3: Project Books, 1979-2017 (Boxes 1-3, 6-8; 2.5 linear feet, ER13-ER93; 30.85 GB)
Series 4: Printed Materials, 1994-circa 2010 (Box 3; 0.5 linear feet, ER94, ER106; 0.141 GB)
Series 5: Artwork, 1956-2017 (Boxes 4, 7-9; 1.3 linear feet, ER107-ER134; 27.75 GB)
Series 6: Photographic Materials, 1968-circa 2010 (Boxes 4-5; 0.9 linear feet, ER135-145; 11.32 GB)
Biographical / Historical:
Charles "Chaz" Bojórquez (1949- ) is a Chicano painter and commercial artist in Los Angeles, California.
Bojórquez attended the Chouinard Art Institute, now known as the California Institute of the Arts or CalArts, where he studied calligraphy under Master Yun Chung Chiang. Bojórquez is regarded as a pioneer in street art. Since the 1960s, he has been integrating the graffiti style of the East Los Angeles Mexican American community with the calligraphy styles of other cultures. As a commercial designer, Bojórquez has designed products for Fendi, Disney, Vans, and other major companies internationally. His work is in the collections of the Smithsonian Institution, the Museum of Contemporary Art in Los Angeles, and other collections throughout the U.S. He has been active in numerous arts groups including graffiti advocacy groups such as the Arroyo Arts Collective, Graffiti Arts Coalition, and the Chicano Axis Art Group.
Provenance:
The papers were donated in 2016 and 2017 by Chaz Bojórquez.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival born-digital records with no duplicate copies requires advance notice.
Records relate to Bojórquez's activities with the Arroyo Arts Collective, Graffiti Arts Coalition, Chicano Axis Art Group, and Mental Menudo.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Charles "Chaz" Bojórquez papers, 1956-2017. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Scope and Content Note:
The Jack Stewart papers are dated 1926-2010 and measure 9.9 linear feet and 7.31 GB. A significant portion of the collection concerns Stewart's dissertation, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989), related research, writings, and exhibitions on the subject. Biographical materials, correspondence, writings, printed and digital material, artwork, sketchbooks, and photographic materials document his career as a painter, muralist, designer, educator and administrator.
Biographical materials include a "Video Archive" in digital format, consisting mainly of Jack Stewart being interviewed on several occasions by Nancy Gold for her television show, "What It Takes." In addition to discussions about Stewart's career, the shows include examples of his paintings and murals along with views of him at work.
Correspondence mostly documents Stewart's artistic career and work as an educator and administrator; there is some personal correspondence, as well. Of particular note are letters to Rodman Townsend who commissioned a mural about the human brain; they discuss the details of the project and its evolution, brain research, and subsequent exhibitions of related paintings. Illustrated letters and greeting cards with original artwork are from Violet Baxter, Lorrie Goulet, Wolf Kahn, Clare Romano, Anthony Toney, and Sam Weiner. Herbert Brooks Walker sent several pieces of mail art and, while in Italy, collected graffiti information for Stewart. Letters Stewart wrote to his mother span decades; the best represented periods are the years he served in the U.S. Army and studied at Yale University.
Writings and notes consist of Stewart's dissertation ("Subway Graffiti: An Aesthetic Study of Graffiti on the Subway"), miscellaneous writings and notes, and art and architecture notebooks. Dissertation documentation includes the manuscript, drafts, and related records. Among the miscellaneous writings and notes - published and unpublished - are shorter pieces, articles, student papers, and teaching notes. Of particular interest are notes/instructions for a performance piece titled "Endless Subway," "Memories of Steffan Thomas" and "My Recollection of Charles Egan." Also found are minutes of Cooper Union adjunct faculty meetings (1965-1966), and reports written when provost of the Rhode Island School of Design. Art and architecture notebooks (5 volumes) were compiled while at Yale University.
Research files on graffiti contain many sound recordings and some transcripts of interviews with graffiti writers, voluminous lists of graffiti writers' names/tags, correspondence, notes, photographs, and a wide variety of printed material. Some of the material is in digital format. Stewart began collecting these materials as his interest in graffiti developed. They were used for his dissertation and material continued to be added after the dissertation was completed.
Printed material mentioning Stewart or containing reproductions of his work includes exhibition catalogs, posters, and newsletters.
Artwork by Jack Stewart consists of drawings, paintings, and one etching; also found are designs and plans for tables, murals, and other projects. Drawings include figure studies, heads, and landscapes; most are in pencil and some in ink. The small number of paintings are oil on canvas (removed from stretchers), and gouache on paper and board. Sketchbooks (44 volumes) contain mostly pencil drawings and sketches, and a few studies for paintings and murals. Two volumes include writings about travels and events; of particular interest are "Notes on Kline's funeral May 1962," "Visit to Roman Bronze Art Foundry," and "Notes on My Development."
Photographic materials consist mainly photographs, but also include digital images and 35-mm color slides. Images of Stewart include views of him with paintings and working in his studio. Identified individuals with whom he appears are: Regina Stewart (wife), Brandon Stewart (son), Lil Stewart (mother), Ninalee Craig, Irving Sandler, and students in Urbino, Italy. Photographs of artwork document murals such as Raw Material (composed of shirt labels), and Versailles Hotel in Miami Beach; among the paintings documented are State of the Union, Icons of Western Art and Revelation XVI-16 (both with keys to individuals portrayed). Exhibition openings and installations are shown in photographs, color slides, and video recordings. Also found are photographs of the World Trade Center site taken by Stewart in December 2001.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Materials, 1926-circa 2009 (Boxes 1,11; 0.6 linear foot, ER01-ER02, 3.92 GB)
Series 2: Correspondence, 1944-2009 (Boxes 1-2; 0.7 linear foot)
Series 3: Writings and Notes, circa 1947-2003 (Boxes 2-5; 3.1 linear foot)
Series 4: Research Files on Graffiti, 1972-2010 (Boxes 5-7,11; 2.8 linear foot, ER03-ER05, 3.18 GB)
Series 5: Printed Material, circa 1945-2002 (Boxes 8, 11, OV 13; 0.7 linear foot)
Series 6: Scrapbooks, circa 1990-2003 (Box 8; 0.2 linear foot)
Series 7: Artwork, 1946-2000 (Boxes 8, 11, OV 12; 0.3 linear foot)
Series 8: Sketchbooks, 1951-2004 (Boxes 8-9; 1.3 linear foot)
Series 9: Photographic Materials, circa 1950s-2010 (Boxes 10-11; 0.4 linear foot, ER06-ER07, 0.208 GB)
Biographical Note:
Jack Stewart (1926-2005) was a painter, muralist, designer, educator and administrator in New York City. After developing an interest in graffiti in the 1970s, Stewart eventually wrote a dissertation on the subject, "Subway Graffiti: An Aesthetic Study of Graffiti on the Subway" (New York University, 1989) and was recognized as an expert on mass transit art.
Jack Stewart began studying art at the High Museum School in his hometown of Atlanta when he was 10 years old. At age 14, he began a 4 year apprenticeship with painter and sculptor Steffen Thomas. After serving in World War II, he enrolled at Yale University (B.F.A. 1951) as a sculpture student, but soon switched to the painting department where he studied with Josef Albers and Willem de Kooning. After graduation, Stewart began receiving mural commissions and enrolled in classes at Columbia University School of Architecture (1951-1953). His interest in architecture was tied to understanding how to work effectively with architects on mural projects. Later, Stewart developed an interest in graffiti which he pursued through graduate study at New York University (M.A., 1975 and Ph.D., 1989).
Stewart created murals in ceramic tile, mixed media and stained glass. In addition to mosaic murals, he designed tables with mosaic tops. As an outgrowth of his mosaic work, Stewart developed a technique for laminating stained glass onto plate glass that, by eliminating the need for lead, opened new design possibilities. Mural commissions included work for Hamilton Hotel in Chicago, Versailles Hotel in Miami Beach, Public School 28 in New York City, and several ocean liners. The most unusual mural, Raw Material commissioned by Cluett Peabody and Company, was composed of shirt labels embedded in acrylic.
Beginning in 1950 Stewart participated regularly in group shows and enjoyed solo exhibitions mainly in the New York City area. He also showed in Philadelphia, Georgia, Rhode Island, Mexico and Italy, and was included in exhibitions circulated by the American Federation of Arts.
Stewart taught at the college level for nearly thirty years, including: The New School (art and architecture, 1953-1958); Pratt Institute (interior architectural design, 1955-1960); The Cooper Union for the Advancement of Science and Art (painting, drawing, human anatomy, art history, 1960-1976; Art Department Chairman, 1971-1976); International Center of Mythymna, American Division, Lesbos, Greece (summer school, 1962-1965); Columbia University (M.F.A. program instructor, 1966-1976); and New York University (drawing, 1967-1975). In 1976 he was appointed Vice President and Provost of the Rhode Island School of Design.
Stewart was active in several professional organizations. He served as New York Artists Equity Association Secretary (1986-1987) and President (1987-1989); President of the National Society of Mural Painters (1996-2000); member of the advisory board of the Steffen Thomas Museum and Archives, Buckhead, GA (1997- 2000s); and President of the Fine Arts Federation of New York (2003-2004). The National Academy of Design elected Jack Stewart an Academician in 1995.
Jack Stewart and Margot Schwarzhaupt, an artist, were married in 1947; they had one son, Brandon. Painter and arts administrator, Regina Serniak, became Jack Stewart's wife in 1976.
Jack Stewart died in New York City in 2005.
Related Materials:
Jack Stewart papers, 1926-2015, are located at Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library.
Provenance:
Donated in 2010 by Regina Stewart, widow of Jack Stewart.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. This collection is copyright restricted.
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:
Arts administrators -- New York (State) -- New York Search this
Quotes and excerpts must be cited as follows: Oral history interview with Willie Herrón, 2000 Feb. 5-Mar. 17. Archives of American Art, Smithsonian Institution.
The papers of New York artists Jari "WERC" Alvarez and Geraldine "Gera" Lozano measure 1.3 linear feet and date from 2005 to 2015. Drawings, correspondence, four scrapbooks, and fifteen sketchbooks document Alvarez and Lozano's graffiti and public art careers.
Scope and Contents:
The papers of New York artists Jari "WERC" Alvarez and Geraldine "Gera" Lozano measure 1.3 linear feet and date from 2005 to 2015. Drawings, correspondence, four scrapbooks, and fifteen sketchbooks document Alvarez and Lozano's graffiti and public art careers.
Arrangement:
The collection is arranged as one series.
Series 1: Jari "WERC" Alvarez and Geraldine "Gera" Lozano papers, 2005-2015 (Boxes 1-2; 1.3 linear feet)
Biographical / Historical:
Jari "WERC" Alvarez (1980- ) is a graffiti artist who was born in Mexico and raised in Texas. Geraldine "Gera" Lozano (1981- ) is a public artist from New Jersey. They both reside in Brooklyn, N.Y.
Alvarez and Lozano produce artwork independently but have collaborated on public works of art in Mexico, Paraguay, Brazil, Peru, New York, and Texas. Their mural, Portal Flow, done as part of the Gateways to Newark initiative in Newark, N.J., is the largest mural on the east coast. As collaborators, they focus on beautifying public environments through creating work that honors the surrounding communities.
Provenance:
The papers were donated in 2015 by Jari "WERC" Alvarez and Geraldine "Gera" Lozano.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Graffiti artists -- New York (State) -- New York Search this
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.
Papers concerning the Graffiti Workshop including Esses's correspondence; notes and calendars regarding meetings and media contacts; a lease; financial records; loan agreements and contracts; photographic materials, including: 155 b&w and color reproductions made from digital copies of photographs of works of art and Workshop participants at work taken by Rafael Pasquera, commissioned by Esses; 34 color transparencies of works of art; and 56 color slides of participants; exhibition catalogs and announcements, clippings, and other printed material; draft writings about graffiti; a card file inventory of graffiti paintings produced by the Workshop; and miscellany.
Biographical / Historical:
Samuel Esses leased a space at 414 E 75th Street, New York City for the benefit of graffiti artists.
Provenance:
Donated 2003 by Sandra and Samuel Esses.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and born-digital records with no duplicate access copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2017 July 02
Scope and Contents:
Diana N'Diaye (presenter); CHELOVE (Cita Sadeli) and MASPAZ( Frederico) ;Artists CHELOVE and MASPAZ discuss how they use their work to celebrate the natural world and examine cultural roots drawing upon their American upbringing, their cultural heritage (Javanese and Colombian, respectively), and their involvement in the D.C. street art scene.
General:
This audio recording has been transcribed. View transcription and play recording here. Download a PDF of the transcription here.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Mural painting and decoration -- Washington (D.C.) Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2017 July 03
Scope and Contents:
Sebi Medina Tayac (presenter); Tom Fong; Alyssa Berrios; Michael Morris; MASPAZ; CHELOVE ;In this session, artists of different traditions and generations discuss the social and symbolic meanings of home sharing the ways in which these ideas inform their sense of identity, community, and creative practices. Participants include CHELOVE (AKA Cita Sadeli), MASPAZ (AKA Federico Frum), Alyssa Berrios, Michael Morris.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
