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Cameroun Français - Mission des Prêtres de Sacré Cœur de Saint-Quentin 7. Art Indigène: Un trône historique sculpté d'un seul bloc de bois

Creator:
Congregation of the Priests of the Sacred Heart  Search this
Brochard, M.  Search this
Extent:
1 Postcard (collotype., b&w, 9 x 14 cm.)
Container:
Volume 1
Type:
Archival materials
Postcards
Postcards
Picture postcards
Place:
Africa
Cameroon
Date:
ca. 1920
Scope and Contents:
Printed text on recto reads: "Cameroun Français - Mission des Prêtres de Sacré Cœur de Saint-Quentin / 7. Art Indigène: Un trône historique sculpté d'un seul bloc de bois."
Translated caption reads: "French Cameroon / Missions of the Priests of the Sacred Heart of Saint Quentin / 7. Indigenous Art: An historic throne carved from a single block of wood."
Printed text on verso reads: "Procure de la Mission du Cameroun: 214. Rue Lafayette Paris (Xe) / Edit. M. Brochard, 81, quai Fosse, Nantes." Manuscript on verso reads: "78/264."
Local Numbers:
EEPA CM-03-02
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Works of art in situ  Search this
Portrait photography -- Africa  Search this
Genre/Form:
Picture postcards
Collection Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014, Item EEPA CM 2013-001-0223
See more items in:
African Postcard Collection
African Postcard Collection / Series 7: Cameroon (CM)
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7a7218043-c8a6-45f4-be52-e12f22f2bd10
EDAN-URL:
ead_component:sova-eepa-1985-014-ref3655

Whitney Halstead collection of photographs of indigenous art

Creator:
Halstead, Whitney (collector and photographer)  Search this
Names:
British Museum  Search this
Field Museum of Natural History  Search this
Laboratory of Anthropology (Museum of New Mexico)  Search this
Nampeyo, ca. 1856-1942  Search this
Pushruk, Anthony Eskimo  Search this
Extent:
27 Negatives (acetate)
140 Prints (silver gelatin (including proof sheets of contact prints))
1 Print (albumen)
11 Copy prints
Culture:
Peruvians  Search this
Diné (Navajo)  Search this
Eskimos  Search this
Wichita  Search this
Seneca  Search this
Indians of North America -- Southwest, New  Search this
Indians of North America -- Northeast  Search this
Inunaina (Arapaho)  Search this
Indians of North America -- Great Plains  Search this
Tewa Pueblos  Search this
Indians of North America -- Subarctic  Search this
Pueblo  Search this
Arctic peoples  Search this
Type:
Collection descriptions
Archival materials
Negatives
Prints
Copy prints
Place:
Benin (Kingdom)
Date:
undated
Scope and Contents note:
Photographs documenting pottery and pottery designs from historic Pueblo groups and archeological sites, including pottery by Hopi potter Nampeyo and an image of Maria Martinez of San Ildefonso and examples of her pottery. There are also some photographs that depict a pueblo, Southwest landscapes, cliff dwellings, rock art, craftspeople, and dwellings, mostly relating to Southwest peoples, Peruvians, and Australian aborigines. The collection includes images of artifacts in the collections of the Chicago Natural History Museum, Field Museum, British Museum, University of Illinois, Santa Fe Laboratory of Anthropology, and Paul Pearson collection. Notes and notices relating to publication are also available with the collection.
Biographical/Historical note:
Whitney Halstead (1926-1979) was an art historian and artist. He acquired his BFA and MFA from the School of the Art Institute of Chicago, where he became Chairman of the Division of Fine Arts in 1967. He also worked as an assistant in the Field Museum's anthropology department and wrote art history publications.
Local Call Number(s):
NAA Photo Lot 89-43
Location of Other Archival Materials:
The Archives of American Art holds Whitney Halstead's papers.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Copy prints of photographs or photographs of objects held by Chicago Natural History Museum, Field Museum of Natural History, British Museum, University of Illinois, and Santa Fe Laboratory of Anthropology cannot be copied. Copies or permission must be obtained from these repositories.
Topic:
Pottery  Search this
Kachinas  Search this
Camps  Search this
Australian Aborigines  Search this
Cliff-dwellings  Search this
Sculpture  Search this
Baskets  Search this
Masks  Search this
Spinning  Search this
Dwellings  Search this
Citation:
Photo Lot 89-43, Whitney Halstead collection of photographs of indigenous art, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.89-43
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3554c9cfe-804d-4487-ab61-580bfa359e89
EDAN-URL:
ead_collection:sova-naa-photolot-89-43

Edmund Snow Carpenter papers

Creator:
Carpenter, Edmund, 1922-2011  Search this
Names:
De Menil, Adelaide  Search this
Flaherty, Robert Joseph, 1884-1951  Search this
Heye, George G. (George Gustav), 1874-1957  Search this
McLuhan, Marshall, 1911-1980  Search this
Schuster, Carl, 1904-1969  Search this
Extent:
26.25 Linear feet
Culture:
Arctic peoples  Search this
Iglulingmiut Inuit (Iglulik/Iglulirmiut Eskimo)  Search this
Inuit  Search this
Inuit -- Canada  Search this
Inuit -- Greenland  Search this
Iroquois  Search this
Type:
Collection descriptions
Archival materials
Place:
Canada
Greenland
New Guinea (Territory)
Papua New Guinea
Date:
circa 1938-2011
Summary:
Edmund Snow Carpenter (1922-2011) was an archaeologist and visual anthropologist who worked extensively with the indigenous peoples of the Canadian Arctic as well as Papua New Guinea. With his colleague and close collaborator Marshall McLuhan (1911-1980), he laid the groundwork for modern media theory. Carpenter is also known for his work as an ethnographic filmmaker and as a collector of Paleo-Eskimo art. The Papers of Edmund Carpenter, circa 1938-2011, document the research interests and projects undertaken by Carpenter in the fields of cultural anthropology, ethnographic filmmaking, media theory, archaeology, and indigenous art.
Scope and Contents:
The papers of Edmund Carpenter, 1940-2011, document the research interests and projects undertaken by Carpenter in the fields of cultural anthropology, ethnographic filmmaking, media theory, archaeology, and indigenous art. Specific research projects and interests documented are: his 1950s fieldwork among the Aivilik Inuit in the Canadian Arctic as well as his studies into Inuit concepts of space, time, and geography; his partnership and collaboration with media theorist Marshall McLuhan and his ethnographic studies of Papua New Guinean tribal communities; his early-career archaeological digs at Haudenosaunee (Iroquois) burial mounds in Sugar Run, Pennsylvania, as well as later archaeological interest in Arctic peoples, Siberia, and the Norwegian artifact dubbed the "Norse Penny"; his reflections on the disciplines of anthropology and media studies; his editing and completion of the work of art historian Carl Schuster at the Museum der Kulturen (Museum of Ethnology) in Basel, Switzerland; his editing of The Story of Comock the Eskimo, as told to Robert Flaherty; and his museum exhibitions compiled on the topics of surrealist and tribal art. The collection also documents Carpenter's correspondence with fellow scholars, ethnographers, filmmakers, and colleagues; his published writings; and elements of his personal life, such as obituaries and personal photographs.

Materials in this collection include artifact and burial records; correspondence; drawings and illustrations; essays; interviews and oral histories; inventories and catalogues; manuscripts and drafts, and fragments of drafts; maps; memoranda and meeting minutes; notes, notebooks, and data analysis; obituaries and memorials; photographic prints, slides, and negatives, including personal photographs and portraits; proposals and plans for museum exhibits; reports; resumes and bibliographies; reviews; and sound recordings on CD-Rs and audio cassettes. Additional materials include books and book chapters; journal copies and journal excerpts; magazine, newspaper, and article clippings and excerpts; museum and gallery catalogues, brochures, and guides; pamphlets; and reprints. A portion of the material collected here consist of consolidated research into specific topics, gathered from archival repositories, museums, correspondence, and published works. This material consists of research reprints and archival reference photocopies and photographic prints from various repositories.

Items worthy of special mention in this collection include: annotated draft chapters from Marshall McLuhan's seminal work on media theory, Understanding Media: The Extensions of Man (Series 2); a 1957 letter from e. e. cummings to Carpenter, written in verse (Series 3); an undated thank-you note addressed to "Sadie" from Helen Keller (Series 3); and a transcript of an interview of Carpenter by his former student, Harald Prins (Series 2).
Arrangement:
The collection is organized into the following 6 series:

Series 1. Fieldwork and drafts, 1940-2011 (bulk 1940-1959)

Series 2. Research and project files, 1940-2011

Series 3. Correspondence, circa 1938-2011

Series 4. Publications and lectures, circa 1942-circa 2006

Series 5. Personal, 1942-2011

Series 6. Writings by others, 1960-2009, undated
Biographical Note:
Edmund Snow Carpenter (1922-2011) was an archaeologist and visual anthropologist who worked extensively with the indigenous peoples of the Canadian Arctic and Papua New Guinea. With his colleague and close collaborator Marshall McLuhan (1911-1980), he laid the groundwork for modern media theory. Carpenter is also known for his work as an ethnographic filmmaker and as a collector of Paleo-Eskimo art.

Born in 1922 in Rochester, New York, Edmund (nicknamed "Ted") Carpenter served in the U.S. Marine Corps during World War II before receiving his Ph.D. from the University of Pennsylvania in 1950 under Frank Speck for work on Iroquoian prehistoric archaeology. Carpenter began teaching at the University of Toronto in 1948 while simultaneously working as a programmer for the Canadian Broadcasting Corporation (CBC). In the 1950s, he undertook fieldwork in the Canadian Arctic among the Aivilik (an Inuit Igloolik subgroup). This fieldwork resulted in several publications in the field of cultural anthropology, including Time/Space Concepts of the Aivilik (1955), Anerca (1959), and Eskimo (1959, republished as Eskimo Realities in 1973).

Also in the 1950s, Carpenter began a working relationship with media theorist Marshall McLuhan. Together, they received a Ford Foundation grant (1953-1955) for an interdisciplinary media research project into the impact of mass communications and mass media on culture change. Carpenter and McLuhan's partnership resulted in the Seminar on Culture and Communication (1953-1959) and the journal series Explorations. In 1957, Carpenter was the founding chair in the interdisciplinary program "Anthropology and Art" at San Fernando Valley State College (now California State University, Northridge). There, he collaborated with Bess Lomax Hawes and other colleagues in the production of several ethnographic films, including Georgia Sea Island Singers about Gullah (or Geechee) songs and dances. During this period, Carpenter worked with McLuhan on the latter's seminal book Understanding Media: The Extensions of Man (1964). The article published as "Fashion is Language" in Harper's Bazaar under McLuhan's name (1968) was actually written by Carpenter. It was later published in book form under Carpenter's name, with the title They Became What They Beheld (1970).

In 1969, Carpenter took a research professorship at the University of Papua and New Guinea sponsored by the government of Australia. Alongside photographer Adelaide De Menil (whom he would later marry), he applied many of the ideas about media literacy and culture change to indigenous communities of Papua New Guinea. These activities led to developments in the field of media ecology, as well as the publication of Carpenter's best-known work, Oh, What a Blow the Phantom Gave Me! (1976).

Carpenter taught intermittently at various universities throughout his career, including Fordham University, the University of California-Santa Cruz, Adelphi University, Harvard University's Center for Visual Anthropology, the New School for Social Research, and New York University. He spent eight years associated with the Museum of Ethnology in Basel, Switzerland (1973-1981), editing art historian Carl Schuster's research.

In addition to his teaching and research, Carpenter, with his wife Adelaide De Menil, collected tribal art, eventually amassing the largest private collection of Paleo-Eskimo art in the United States. In the 1990s and early 2000s, Carpenter curated various exhibitions on art and visual culture, including the Menil Collection's Witness to a Surrealist Vision and the Musée du Quai Branly's Upside Down (later reconstructed at the Menil Collection). In later years, Carpenter resumed his archaeological interest in Arctic peoples, researching and collaborating on the Zhokhov Island Mesolithic site in the Russian Arctic with Russian scientists from the Institute for the History of Material Culture and archaeologists from the Smithsonian Institution's National Museum of Natural History.

Carpenter died on July 1, 2011 at his home in New York.

Sources consulted:

"Edmund Snow Carpenter." https://edmundsnowcarpenter.com/about

Grimes, William. "Edmund Carpenter, Archaeologist and Anthropologist, Dies at 88." The New York Times. 2011 July 7. https://www.nytimes.com

Prins, Harald E. L. and John Bishop. "Edmund Carpenter: Explorations in Media and Anthropology." Visual Anthropology Review 17:2 (Fall-Winter 2001-2002): 110-140.

Chronology

1922 September 2 -- Born in Rochester, New York

circa 1940-1941 -- Archaeological field work, Sugar Run mounds, Pennsylvania

1942-1946 -- Served in the United States Marine Corps

1948-1957 -- Anthropology Department, University of Toronto

circa 1950 -- Began work for the Canadian Broadcasting Corporation (CBC)

1950 -- Ph.D. University of Pennsylvania (Anthropology)

1950s -- Fieldwork among the Aivilik Inuit

1953-1959 -- Ran the Seminar on Culture and Communication with Marshall McLuhan

1957-1967 -- "Anthropology and Art" program at San Fernando Valley State College (California State University, Northridge)

1967-1968 -- Schwitzer Chair, Fordham University (with Marshall McLuhan)

1968-1969 -- Carnegie Chair in Anthropology, University of California, Santa Cruz

1969-1970 -- Research Professor, University of Papua and New Guinea

1973-1981 -- Associated with the Museum of Ethnology in Basel, Switzerland for Carl Schuster papers project

circa 1989-2005 -- Collaboration regarding Zhokov Island archaeological site

2011 July 1 -- Died in East Hampton, New York
Separated Materials:
Film and video recordings are retained by the Human Studies Film Archives (HSFA) as the Edmund Carpenter-Adelaide de Menil Collection (HSFA 2004-04).
Provenance:
The Edmund Snow Carpenter papers were donated to the National Anthropological Archives in 2017 by Adelaide de Menil on behalf of the Rock Foundation.
Restrictions:
The Edmund Snow Carpenter papers are open for research.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.

Digital media in the collection is restricted for preservation reasons.

Access to the Edmund Snow Carpenter papers requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Archaeology  Search this
Cartography  Search this
Ethnographic films  Search this
Indigenous art  Search this
Inuit art  Search this
Menil Collection (Houston, Tex.)  Search this
Museum exhibits  Search this
Paleo-Eskimos  Search this
Visual anthropology  Search this
Citation:
Edmund Snow Carpenter papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2017-27
See more items in:
Edmund Snow Carpenter papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3d15a171a-af5d-4b66-914f-55bc819d7b76
EDAN-URL:
ead_collection:sova-naa-2017-27
Online Media:

Alaska

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
The 1984 Alaska program offered an opportunity to reflect upon the Smithsonian's involvement with that State. For more than a century, the Institution had devoted a large part of its scholarly effort to the documentation and preservation of the deep and varied cultures of the indigenous peoples of the Americas, including Alaska Natives. The Alaska program also included representatives of occupations whose labor and cultural expression shaped that State in a profound way.

Among Alaska Natives, the old ways, the indigenous arts, reflect long experience in a place. Alaska's traditional Native arts are tremendously varied and rich with meaning, and they are inseparable from Native values - especially a sense of the relatedness of all things - closely tied to the use of local materials, and dependent upon the seasonal rounds of subsistence activities. While traditional materials, processes, and designs are evident in much of the material culture of Alaska's Native people, change is also evident. Power tools and sewing machines shorten and ease tasks. New materials replace old, sometimes by choice, sometimes by economic necessity (beadwork is now often done on felt because a single tanned moosehide may cost four or five hundred dollars), and sometimes because new and complex regulations make access to some materials, such as birchbark, difficult. In addition, side by side with the traditional artists, a generation of contemporary artists are creating new idioms for Native art. Among Eskimos, Indians and Aleuts, art has not been seen as a separate category of life or as an inventory of certain objects, but rather as a part of life. It expresses the relatedness of everything in the natural world, the social world, and the spiritual world.

The Native people of Alaska refer to themselves as "the people." "Yupik" means "real person" and "Tlingit" means "human". The oral traditions of all Alaska Natives teach the individual how to be human - to know who one is and how one fits into society and the cosmos. The categories of sacred and profane are perceived in a very different way than in the secular mainstream American world view. Stories and songs allude to each other; both record history, and are often reflected in visual arts, such as Chilkat robes, masks, carved dance headdresses and helmets. Yupik dancing, to take one example, is as vital today as ever in the delta region. Men and women continue to dance to the steady rhythm of the hooped drum, traditionally said to represent the beating heart of the spirits as well as the lively movements of the spirits of men and game over the thin surface of the earth.

Alaskan occupational traditions give meaning to the world of work. Through these traditions, workers know the history and development of their occupation, share similar feelings about remembered events and people, and learn from the skills and knowledge of experienced hands. Occupational cultures, especially the selected Alaskan traditions presented at the 1984 Festival, also have a second side to them - an outside, in the sense that they have symbolic or heroic meaning for outsiders. The romantic image of the gold miner, the logger, the fisherman and the bush pilot have peopled the popular and literary imagination as symbols of the epic confrontation between society and nature. For Alaskan workers themselves, however, occupational life has more to do with productivity, safety and cameraderie, even though the Alaskan land and sea they earn their living from is, for them and us, among the most dramatically beautiful and valuable on earth.

The 1984 Festival offered visitors the opportunity to encounter the varied traditions of Alaska, with a sizable contingent of Alaska Natives, a glacier transported to the National Mall, and the chance to see its natural bounty - especially fish - transformed into delicious meals.

The Alaska program was made possible by the State of Alaska Department of Commerce and Economic Development through its Division of Tourism and the Alaska Seafood Marketing Institute. Additional funding was made available through private and corporate donations.

Larry Deemer served as Alaska Program Coordinator and Suzi Jones, as Consultant.
Fieldworkers:
Suzi Jones, Jens Lund, Bob McCarl, Peter Seitel, Chuck Smythe
Presenters:
George Charles, Julie Folta, Suzi Jones, Anna Katzeek, Jens Lund, Sue Manos, Bob McCarl, Barry Lee Pearson, Jack Santino, Velma Wallis
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1984 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1984, Series 2
See more items in:
Smithsonian Folklife Festival records: 1984 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5675e3586-4f3c-4a74-a847-f595e28eb4ea
EDAN-URL:
ead_component:sova-cfch-sff-1984-ref18

Clearly Indigenous Native visions reimagined in glass by Letitia Chambers ; photo editor, Cathy Short

Curator:
Chambers, Letitia 1943-  Search this
Short, Cathy 1942-  Search this
Host institution:
Museum of Indian Arts and Culture/Laboratory of Anthropology (Museum of New Mexico)  Search this
Physical description:
191 pages color illustrations, portraits 29 x 27 cm
Type:
Exhibitions
Expositions
catalogs (documents)
collective biographies
Catalogs
Biographies
History
Exhibition catalogs
Catalogues
Place:
North America
Amérique du Nord
Date:
2020
20th century
21st century
20e siècle
21e siècle
Topic:
Glass art--History  Search this
Glass artists  Search this
Indian artists--History  Search this
Indian art--History  Search this
Indigenous art--History  Search this
Art du verre--Histoire  Search this
Verriers d'art  Search this
Artistes indiens d'Amérique--Histoire  Search this
Art autochtone--Histoire  Search this
Indigenous art  Search this
Indian artists  Search this
Glass art  Search this
Indian art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1155210

The Music Maker - Mood V

Maker:
Solomon Irein Wangboje, 1930-1998  Search this
Medium:
Linocut on paper
Dimensions:
H x W: 36.2 x 29.8 cm (14 1/4 x 11 3/4 in.)
Type:
Print
Geography:
Nigeria
Date:
1965
Topic:
musical instrument  Search this
male  Search this
Credit Line:
Gift of Amb. and Mrs. Benjamin Hill Brown Jr.
Object number:
76-3-18
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7a969235e-e3c5-44ac-914a-97f60056ae00
EDAN-URL:
edanmdm:nmafa_76-3-18

The Road is Long

Maker:
Solomon Irein Wangboje, 1930-1998  Search this
Medium:
Linocut on paper
Dimensions:
H x W: 16.5 x 35.6 cm (6 1/2 x 14 in.)
Type:
Print
Geography:
Nigeria
Date:
1965
Topic:
male  Search this
Credit Line:
Gift of Amb. and Mrs. Benjamin Hill Brown Jr.
Object number:
76-3-19
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7bf87e670-00dd-428e-86c8-48de82ae40aa
EDAN-URL:
edanmdm:nmafa_76-3-19

Painting

Maker:
Bela, born 1920, Republic of Chad  Search this
Sara artist  Search this
Medium:
Oil on paper
Dimensions:
H x W: 24.5 x 29.5 cm (9 5/8 x 11 5/8 in.)
Type:
Painting
Geography:
Democratic Republic of the Congo
Date:
ca. 1940s-1950s
Topic:
dog  Search this
weapon  Search this
rabbit  Search this
tree  Search this
male  Search this
Credit Line:
Anonymous gift
Object number:
2002-11-1
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys75a0f0eb2-2dee-4674-99fd-e8533827bd94
EDAN-URL:
edanmdm:nmafa_2002-11-1

Painting

Maker:
Norbert Ilunga, born Democratic Republic of the Congo, active 1946-1950s  Search this
Medium:
Pastel on paper
Dimensions:
H x W: 29.2 x 23.3 cm (11 1/2 x 9 3/16 in.)
Type:
Painting
Geography:
Democratic Republic of the Congo
Date:
ca. 1940s-1950s
Topic:
flower  Search this
Credit Line:
Anonymous gift
Object number:
2002-11-3
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys76ca71835-b9a9-48c2-8cf3-8be1403b3def
EDAN-URL:
edanmdm:nmafa_2002-11-3

Painting

Maker:
Kaballa, born 1920, Democratic Republic of the Congo  Search this
Medium:
Oil on paper
Dimensions:
H x W: 37.9 x 51.5 cm (14 15/16 x 20 1/4 in.)
Type:
Painting
Geography:
Lubumbashi, Democratic Republic of the Congo
Date:
ca. 1940s-1950s
Topic:
crocodile  Search this
Plant  Search this
Credit Line:
Anonymous gift
Object number:
2002-11-4
Restrictions & Rights:
Usage conditions apply
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys71f87c6c9-be99-46aa-9d0c-1c4ec699d644
EDAN-URL:
edanmdm:nmafa_2002-11-4

Odd Halseth collection of negatives and photographs

Creator:
Halseth, Odd S.  Search this
Extent:
158 Negatives (photographic) (black and white)
4 Photographic prints (black and white)
Culture:
Puye Pueblo  Search this
K'apovi (Santa Clara Pueblo)  Search this
Diné (Navajo)  Search this
Kewa (Santo Domingo Pueblo)  Search this
Akimel O'odham (Pima)  Search this
San Ildefonso Pueblo  Search this
Piipaash (Maricopa)  Search this
Jemez Pueblo  Search this
Zia Pueblo  Search this
Yoeme (Yaqui) [Pascua Yaqui]  Search this
Tesuque Pueblo  Search this
Cochiti Pueblo  Search this
Type:
Collection descriptions
Archival materials
Negatives (photographic)
Photographic prints
Photographs
Black-and-white negatives
Date:
1920-1925
Summary:
The collection consists of negatives and photographs made by Halseth from 1920 to 1925 in Arizona and New Mexico.
Scope and Contents:
The collection consists of negatives and photographs made by Halseth from 1920 to 1925 in Arizona and New Mexico. The materials are primarily informal, outdoor group and individual portraits of Akimel O'odham (Pima), Diné (Navajo), Yoeme (Yaqui) [Pascua Yaqui], Piipaash (Maricopa), K'apovi (Santa Clara Pueblo), Zia Pueblo, San Ildefonso Pueblo, Jemez Pueblo, Cochiti Pueblo, Kewa (Santo Domingo Pueblo), and Tesuque Pueblo men, women, and children. In addition among the Akimel O'odham photographs are depictions of dwellings, potters, ladle makers, baskets, the construction of an oven, food preparation, dwellings, and mattress factory wokers; among the K'apovi ceremonials and village views; among the Zia pottery and portraits of and paintings by Velino Shije Herrera; among the Jemez ceremonials and village views; among Kewa ovens; and among San Ildefonso village views and paintings by Awa Tsireh. The collection also includes photogrpahs depicting the pictographs at Puye.
Arrangement note:
Negatives Arranged by negative number (N32893-N33051)

Prints Arranged by print number (P19345-P19346, P19630-P19631)
Biographical/Historical note:
Born in 1893 in Moss, Norway, Halseth was an anthropologist, museum director, educator, author, art critic, and lecturer. As a young man he studied electrical engineering and anthropology in Germany and served both Norway and the United States during World War I. While in San Diego for military training, he met archaeologist Edgar L. Hewett and after the war accepted a position with Hewett as the curator of art at the San Diego Museum. In 1923, he moved to Santa Fe, where he was on both the staff of the School of American Research and the Museum of New Mexico. After four years, Halseth was appointed director of the newly established Arizona Museum in Phoenix and in 1929 initiated the excavation of the Pueblo Grande Indian ruins and founded the Pueblo Grande Museum. Halseth was also Phoenix's head archaeologist and superintendent of the city's Division of Archaeology. Active in his field, Halseth was a fellow of the American Anthropological Association, a member of the Society of American Archaeology, and the author of numerous publications on Arizona archaeology and indigenous arts and crafts. He retired in 1960.
Provenance:
Historically, the Museum of the American Indian, Heye Foundation managed all photographic materials separately. This collection description represents current management practices of organizing and contextualizing related archival materials.
Restrictions:
Access is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment.
Rights:
Restricted: Cultural Sensitivity
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Topic:
Indians of North America -- Arizona -- Photographs  Search this
Indians of North America -- New Mexico -- Photographs  Search this
Genre/Form:
Photographs
Photographic prints
Black-and-white negatives
Citation:
Odd Halseth collection of negatives and photographs, 1920-1925, National Museum of the American Indian Archives, Smithsonian Institution
Identifier:
NMAI.AC.038
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4ec35a040-8abe-41ff-9e12-5370dc81350c
EDAN-URL:
ead_collection:sova-nmai-ac-038

Making history the role of history in contemporary Native American art by Leah Diane Cluff

Author:
Cluff, Leah Diane  Search this
Physical description:
xi, 230 pages color illustrations
Type:
Electronic resources
Academic theses
Place:
North America
United States
Canada
Date:
2013
Topic:
Indian art--Themes, motives--History and criticism  Search this
Indian artists--History and criticism  Search this
Indian mythology--In art--History and criticism  Search this
Indigenous art--Themes, motives--History and criticism  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1110609

Musée d'arts africains, océaniens, amérindiens guide des collections

Title:
Guide des collections
Author:
Musée d'arts africains, océaniens, amérindiens de Marseille  Search this
Author:
Hardy, Floriane  Search this
Polle, Caroline  Search this
Sourrieu, Marianne Pourtal  Search this
Subject:
Musée d'arts africains, océaniens, amérindiens de Marseille  Search this
Physical description:
127 pages color illustrations 21 cm
Type:
Catalogs
Catalogues
Place:
Africa
Oceania
America
Afrique
Océanie
Date:
2013
Topic:
Indigenous art  Search this
Art  Search this
Arts  Search this
Indian art  Search this
Art autochtone  Search this
Art primitif  Search this
Arts primitifs  Search this
Art, Primitive  Search this
Arts, Primitive  Search this
Primitive arts--French museum--Marseille--Collections  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1060188

Journal

Creator:
March, Benjamin, 1899-1934  Search this
Names:
Yanjing da xue  Search this
Ferguson, John Calvin, 1866-1945  Search this
March, Benjamin, 1899-1934  Search this
Priest, Alan Reed  Search this
Rowe, Dorothy, 1898-1969  Search this
St. Denis, Ruth, 1880-1968  Search this
Collection Creator:
March, Benjamin, 1899-1934  Search this
Extent:
182 Items (typed unbound pages with solid wood covers)
Container:
Box 1, Folder 9
Type:
Archival materials
Diaries
Place:
China
Beijing (China)
China -- Description and Travel
Date:
1925-1926
Scope and Contents note:
Binding removed, 9 ½" x 6". 182 pages. First entry, 30 June 1925. Last entry, 13 March 1926. Inscribed, "The Memoirs of MA". Wood cover. In the introduction, March wrote, "Chronicles of Benjamin" had, for three years, served as a journal, notebook, and record for himself of places he visited. Said that since he's now not alone that it is fitting to rename his notes, "Memoirs of MA." (Chinese name of his family). ["Chronicles of Benjamin" may be found in Series V, subseries B, photo albums.]
Scope and Contents:
A diary typed by the young Chinese art scholar Benjamin March from June 1925 to March 1926 describing his life in China. Events include March's marriage to the author Dorothy Rowe (1898-1969) in Nanjing, their honeymoon in Hangzhou and Suzhou, and their subsequent life in Beijing. March describes hikes through scenic areas in Hangzhou and Beijing; his acquaintance with scholars such as John Calvin Ferguson and Alan Priest; attending performances by Ruth St. Denis and Mei Lanfang, and his work at Yenching University.
The Memoirs of Ma
Biographical / Historical:
East Asian art historian, curator and lecturer, Benjamin Franklin March Jr., was born in Chicago on July 4, 1899 to Benjamin and Isabel March. He studied, lectured, and wrote in the United States and China and through his works gained respect as one of the foremost authorities on Chinese art during the 1920s and 1930s. March was East Asian art lecturer at the University of Michigan, and curator of Asian art at the Detroit Institute of Art. Although he lived only thirty-five years, Benjamin March was a respected and influential scholar of Asian art.
Local Numbers:
FSA A1995.10 2.3
Collection Restrictions:
Collection is open for research.
Collection Rights:
No restrictions on use.
Topic:
Art, Asian  Search this
Art, Asian -- Research  Search this
Art, Chinese  Search this
Chinese language -- Terms and phrases  Search this
Painting, Chinese  Search this
Genre/Form:
Diaries
Collection Citation:
Benjamin March Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Judith March Davis, 1995
Identifier:
FSA.A1995.10, File FSA A1995.10 2.3
See more items in:
Benjamin March Papers
Benjamin March Papers / Series 2: Diaries
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc36bd63e4b-4db8-4872-ac06-0002023d7c84
EDAN-URL:
ead_component:sova-fsa-a1995-10-ref40
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Journal digital asset number 1

Primitivism and twentieth-century art : a documentary history / edited by Jack Flam with Miriam Deutch

Title:
Primitivism and 20th-century art
Author:
Flam, Jack D  Search this
Deutch, Miriam 1952-  Search this
Einstein, Carl 1885-1940 Negerplastik  Search this
Physical description:
xvii, 491 p. : ill., map ; 27 cm
Type:
Books
Date:
2003
C2003
20th century
Topic:
Primitivism in art--History  Search this
Art, Primitive  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_739211

Possessions indigenous art, colonial culture Nicholas Thomas

Author:
Thomas, Nicholas 1928-  Search this
Author:
University of Bristol Library University of Westminster War and Culture Studies Archive UkBrU-I  Search this
Physical description:
304 pages illustrations (some color) 24 cm
Type:
Books
Book
Place:
Australia
New Zealand (N.Z.)
Australien
Neuseeland
Date:
1999
Topic:
Art, New Zealand  Search this
Art, Australian  Search this
Art, New Zealand--Themes, motives  Search this
Art, Australian--Themes, motives  Search this
Art néo-zélandais  Search this
Art australien  Search this
Art néo-zélandais--Thèmes, motifs  Search this
Art australien--Thèmes, motifs  Search this
Art--Theory and criticism  Search this
Race relations--Representation--Art  Search this
Art--Economic aspects--Markets--Market places  Search this
Art--Graphic design and book illustration  Search this
Art--Textiles  Search this
Art--Artists  Search this
Art--Artists--Non-Indigenous  Search this
Art--Art motifs  Search this
Art--Authenticity  Search this
Indigenous peoples--Pacific--Maori  Search this
Primitivismus  Search this
Aborigines  Search this
Geschichte  Search this
Kunst  Search this
Maori  Search this
Beeldende kunsten  Search this
Maori's  Search this
Kolonialisme  Search this
Iwi taketake  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_595932

Art in Namibia : National Art Gallery of Namibia / Adelheid Lilienthal ; with contributions by Annaleen Eins and Jo Rogge

Author:
National Art Gallery of Namibia  Search this
Lilienthal, Adelheid  Search this
Eins, Annaleen  Search this
Rogge, Jo  Search this
Subject:
National Art Gallery of Namibia  Search this
Physical description:
xiv, 242 p. : ill. (some col.), map ; 23 cm
Type:
Catalogs
Place:
Namibia
Windhoek
Date:
1997
C1997
Topic:
Art, Namibian  Search this
Art  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_538463

New Histories of Art in the Global Postwar Era Multiple Modernisms

Author:
Frigeri, Flavia  Search this
Author:
Handberg, Kristian  Search this
Physical description:
1 online resource (269 pages)
Type:
Electronic resources
Electronic books
Date:
2021
Call number:
N6494.M64 .N49 2021 (Internet)
Restrictions & Rights:
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1153256

Knowing native arts Nancy Marie Mithlo

Author:
Mithlo, Nancy Marie  Search this
Physical description:
1 online resource (xi, 254 pages) illustrations (some color)
Type:
Electronic resources
Electronic books
Date:
2020
Topic:
Indian arts--Study and teaching  Search this
Education, Higher--Aims and objectives  Search this
Cultural awareness  Search this
SOCIAL SCIENCE / Ethnic Studies / Native American Studies  Search this
Museums and Indians  Search this
Call number:
E98.A73 M57 2020 (Internet)
Restrictions & Rights:
3-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1153340

Fashioning a national art : Baroda's royal collection and art institutions (1875-1924) / Priya Maholay-Jaradi

Author:
Maholay-Jaradi, Priya  Search this
Subject:
Sayaji Rao Gaekwar III Maharaja of Baroda 1863-1939 Art collections  Search this
Baroda Museum and Picture Gallery (India) History  Search this
Physical description:
1 online resource : illustrations (black and white), map (black and white)
Type:
Electronic resources
Electronic books
History
Place:
India
Baroda (Princely State)
Date:
2016
Topic:
Art--History  Search this
Art--Collectors and collecting--History  Search this
Art  Search this
Art--Collectors and collecting  Search this
Art--Private collections  Search this
Call number:
N7303
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1150848

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