One scrapbook of fourteen pages consisting of hand-drawn illustrations cut from envelopes and glued to the scrapbook pages.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
Thomas Garvin was a fighter pilot during the Korean War. During his tour he wrote letters home with a hand-drawn illustration on each envelope. He also edited an Air Force magazine calledAir Scoop.
According to an unidentified article sent by Gail Vines, Garvin's daughter:
"Thomas Garvin graduated from the Army Air Corps cadets as a second lieutenant in 1945. He served as a flight instructor at Perrin Field, Texas, and was then transferred to Williams AFB, Arizona. His next duty assignment was to Korea, where he served through 1952, flying 100 missions in F-86 and being credited with one confirmed MIG-15 kill and one probable kill.
"After Korean combat, he was assigned to the 50th Fighter Wing, Cannon AFB, New Mexico, and then to duty as operations officer of the 38th Squadron, Alexandria, Louisiana...."
Related Materials:
Of interest to researchers might be collection #755, Stephen A. Douglas World War II Envelopes, 1942-1945. Douglas used watercolors to decorate envelopes he sent home to his family during the war.
The Archives Center also has numerous collections containing scrapbooks and war related materials.
Provenance:
The scrapbook was donated to the Archives Center by Ms. Gail Vines, Garvin's daughter, in December 2000.
The collection was donated by Ms. Gail Vines, daughter of the artist.
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.
Museum für Kunsthandwerk Frankfurt am Main Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Type:
Sound recordings
Interviews
Place:
Korea (South) -- History -- April Revolution, 1960
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Chunghi Choo, 2007 July 30-2008 July 26. Archives of American Art, Smithsonian Institution.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Ray R. and Patricia A.D. Charlton in memory of Cornelius H. Charlton
Stoddard-Fleischman History of Rocky Mountain Area Artists project Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Dean Fleming, 2013 August 6 and 7. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Allan Sekula, 2011 August 20-2012 February 14. Archives of American Art, Smithsonian Institution.
Warriors in uniform : the legacy of American Indian heroism / by Herman J. Viola ; foreword by Carson Walks Over Ice ; introduction by Ben Nighthorse Campbell
Personal report from Korea--Korean national anthem--Hallelujah chorus--Sargeant's Xmas greeting--Alan Winnington--Korean jive--Captain Don Dolsey--Sounds of the street--Newsboy peddling--Baby crying--Korean children's games--Chinese New Year--Morning crow--Tokyo Central station--Sounds of Geta--Horns blowing at the emporer's plalace--New and old--Western and traditional influence--Club 21--Goro Doc Nakamo--Sounds of Japan--Eastern European song--Numbers
Local Numbers:
FW-ASCH-7RR-1114
Publication, Distribution, Etc. (Imprint):
New York Folkways
Date/Time and Place of an Event Note:
Recorded in: Japan, Korea.
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.
Markers: granite and terrazzo; Bases: granite, concrete, and terrazzo
Type:
Sculptures-Outdoor Sculpture
Sculptures-Stele
Sculptures
Owner/Location:
Administered by City of Laredo Parks and Recreation 4012 North Bartlett Avenue Laredo Texas 78041
Located Jarvis Plaza North side, along Matamoros Street Laredo Texas
Date:
Policemen's Marker dedicated 1962; rededicated May 1990; Vietnam War Marker dedicated 1969; American Legion Marker dedicated March 15, 1969. Disabled American Marker dedicated 1987; Persian Gulf War Marker dedicated June 1, 1991
Topic:
History--United States--Military history Search this
An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.
Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.
Biographical / Historical:
Allan Sekula (1951-2013) was a photographer, filmmaker, and writer, based at the California Institute of the Arts in Valencia, California. Mary Panzer (1955- ) is a historian from New York, New York.
Provenance:
This interview is part of the Archives of American Art 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 administrators.
This collection contains materials that were created and collected by Corporal Harold E. Brown circa 1952-1953 and relate to his service in the United States Army when he was stationed in Alaska during the Korean War (1950-1953). The materials include letters from Yuit (Siberian Yup'ik) artist Florence Nupok Malewotkuk (1906-1971) to Cpl. Brown and an album containing photos that Cpl. Brown shot while stationed in Alaska.
Arrangement:
The materials are organized in 2 boxes.
Biographical / Historical:
Relatively little is known about Corporal Harold E. Brown. Brown was born October 6, 1929 and lived in Gaithersburg, Maryland. He married Mary Helen (1938-2010) and they had at least one child Padraic Brown. Harold was a Corporal in the United States Army and served in the Korean War. He died on November 24, 2012.
Separated Materials:
The archival materials in this collection are part of a larger collection donated to NMAI by Anita and Padraic Brown. The other collection items were made by Yuit (Siberian Yup'ik) artist Florence Nupok Malewotkuk (1906-1971) and include 2 hide yo-yos (26/9291 and 26/9292); 1 pair of mukluks (26/9293); and 3 pairs of slippers with beadwork (26/9294, 26/9295, and 26/9296). These objects were either given to or purchased by Corporal Harold E. Brown when he was stationed in Alaska during the Korean War.
Provenance:
Gift of Anita and Padraic Brown, 2014.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Some images 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 users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, 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.
Identification of specific item; Date (if known); Corporal Harold E. Brown collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
National Air and Space Museum -- Exhibitions Search this
Extent:
13.38 Cubic feet (11 legal document boxes, 1 shoe box (5 x 8 inches), 6 records center boxes )
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Date:
1917-2000
bulk 1981-1986
Summary:
This collection consists of background material collected in support of the Smithsonian National Air and Space Museum (NASM) exhibit "Black Wings: The American Black in Aviation" (opened in 1982) and its companion book (published 1983) by curators Von Hardesty and Dominick Pisano, a related symposium, educational materials, and a travelling version of the exhibit. The collection contains photographs and textual materials used in the exhibit and book, internal correspondence and memoranda, and a large amount of material gathered for research purposes but not used in any "Black Wings" production.
Scope and Contents:
The core of the collection covers activities of American Black aviators between 1917 and 1981, from Eugene Bullard's service as a pilot in World War I through the first Black astronauts assigned to the Space Shuttle program in the early 1980s. Curators Von Hardesty and Dominick Pisano and other Museum staff collected and generally grouped materials to fit the four chronological sections of the "Black Wings" exhibit and related book, with a strong emphasis on the stories of individual people.
Headwinds (1917-1939) covers pioneer fliers such as Bullard and Bessie Coleman; Black aviation activities in the Chicago and Los Angeles areas; early aviators and organizers including William J. Powell, Willa Brown, and Cornelius Coffey; and long distance flights by James Herman Banning and Thomas C. Allen, and C. Alfred "Chief" Anderson and Dr. Albert E. Forsythe.
Flight Lines (1939-1945) includes the 1939 flight of Dale L. White and Chauncey E. Spencer to Washington, D.C.; the Civilian Pilot Training Program (CPT); the start of training of Black military pilots at Tuskegee Army Air Field during World War II; and training of the all-Black 477th Bombardment Group. This section and the next include U.S. Army Air Force documents and photography, and materials obtained from individual Tuskegee Airmen.
Wings for War (1943-1945) covers the experiences of the men of the 99th Fighter Squadron and later the 322nd Fighter Group, all-Black fighter units which participated in the Allied campaigns in North Africa, Sicily, and Italy during World War II, and their commander, Benjamin O. Davis, Jr.
Era of Change (1945-1981), including many materials from the U.S. armed forces and the National Aeronautics and Space Administration (NASA), covers the desegregation of the armed forces; military pilots' participation in the Korean and Vietnam wars (featuring William Earl Brown, Jr.; Daniel "Chappie" James, Jr.; Benjamin O. Davis, Jr.); general aviation (John W. Green, Jr.; Neal Loving); commercial aviation (Perry H. Young, Jr.; James O. Plinton, Jr.); and the U.S. space program, including not just the first Black astronauts (Guion S. Bluford, Jr.; Ronald E. McNair; Frederick D. Gregory; Charles F. Bolden) but many other NASA professional men and women from Project Mercury through the beginning of the Space Shuttle era.
Most of the material was photocopied from other sources such as books, newspapers, periodicals, and other archival collections, but many copy photographs and anecdotes were obtained from the aviators themselves (or their families), particularly those active in the 1930s and 1940s. The collection also contains internal Museum documents, notes, and memoranda regarding the development and implementation of the various "Black Wings" productions, including portions of exhibit scripts, book manuscripts, ephemera, and Museum photography taken at the exhibit opening and the symposium. Photographic formats include prints, copy prints, 4 x 5 inch black and white copy negatives and color transparencies, and 35mm copy slides. Quality of the photography is often fair to poor, as the copies are several generations removed from the original images.
The last six boxes of the collection (currently unprocessed) consists of material collected circa 2000 by curator Cathleen S. Lewis and Ian Cook (NASM Department of Space History) for a proposed update to the "Black Wings" exhibit. After it became clear that the exhibit was not going to be updated, Lewis transferred the material to the NASM Aeronautics Department, as Hardesty and Pisano were contemplating an update to the Black Wings book. This, too, failed to materialize, and the material was transferred to the NASM Archives in May 2018 to be added to the existing Black Wings Exhibit and Book Collection. This series was received by the Museum's Archives Division after the existing collection material had been scanned; it has not been scanned.
Arrangement:
The collection is divided into six series. The first four roughly chronological series (Exhibit, Book, Educational Outreach, and Symposium) relate to the different "Black Wings" productions, and materials within each series often reflect the four-section groupings detailed in the Scope and Content note. The next series, Research Materials, has four sub-series: Biographical Files (alphabetical by last name), Subject Files and Study Materials (alphabetical by subject), Photographic Negatives, and Photographic Prints and Illustrations. The last series houses later additions to the collection which are currently unprocessed.
Materials within folders are predominantly photocopies (xerographs) and often include numerous duplicates, many unlabeled, and in no specific order. Materials relating to an exhibit often include a NASM Exhibits Department reference number (example: SE:13-L73-P58 to P59) indicating the exhibit number (13), label number (L73), and position within the exhibit (P58 to P59). Some materials are not visible online due to copyright restrictions.
Biographical / Historical:
On September 23, 1982, the Smithsonian National Air and Space Museum (NASM) exhibit "Black Wings: The American Black in Aviation" opened as part of the existing "Pioneers of Aviation" exhibit located in Gallery 208 of the museum's National Mall Building in Washington, D.C. The exhibit was dedicated to the American Black Aviator, who anonymously played a historic role in shaping the growth of modern aviation. "Black Wings" encompasses the men and women who had to overcome enormous social pressures in order to gain the right to pursue the dream of flight in both civilian, military, and commercial circles. The exhibit generated much public and media interest, and inspired the Museum to sponsor a symposium on February 25, 1983, entitled "The American Black in Aviation, A Decade of Change: 1939-1949," (working title: "Tuskegee Airmen at War") featuring presentations by historians and U. S. Army Air Forces veterans including Noel F. Parrish (Commander, Tuskegee Army Air Field, 1942-1946), George F. Roberts (Commander, 99th Fighter Squadron, September 1943 to April 1944), and pilots Lewis A. Jackson, Elwood T. Driver, and Louis R. Purnell. In conjunction with the exhibit, the Museum, working with Sid Aaronson Films, Inc., produced a set of sound filmstrip packages designed for elementary and secondary school use. In 1983, the Smithsonian Institution Press published a companion book, Black Wings: The American Black in Aviation, authored by the exhibit's curators, Von Hardesty and Dominick Pisano; a second edition was issued the following year as part of the Smithsonian History of Aviation and Spaceflight series. A Smithsonian Institution Travelling Exhibition Service (SITES) version of the exhibit began circulating to other museums and venues in June 1983, and a expanded version of the SITES exhibit (featuring additional artifacts, photography, and audio-visual materials) was displayed April 1 to August 5, 1984, at the Anacostia Neighborhood Museum (later know as the Smithsonian Anacostia Community Museum) in Washington, D.C. The original NASM "Black Wings" exhibit—with occasional updates—remained on display in the "Pioneers of Flight" gallery (later renamed the "Barron Hilton Pioneers of Flight Gallery") until 2019 when the gallery was closed due to renovations to the Museum's National Mall Building.
Related Materials:
"Black Wings: African American Pioneer Aviators" NASM Website Collection, NASM.2004.0026 [finding aid not available online]
Provenance:
National Air and Space Museum (NASM) Department of Aeronautics, Transfer, 1993, NASM.1993.0060; additional material transferred from NASM Department of Space History, 2018
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
