Search Results

Interviewee:

Maristany, Hiram, 1945-2022  Search this

Interviewer:

Ramos, E. Carmen  Search this

Names:

Young Lords (Organization)  Search this

Extent:

3 Items (mp4 video files (6 hrs., 49 min.), digital)

142 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Video recordings

Place:

East Harlem (New York, N.Y.)

Date:

2021 August 8-10

Scope and Contents:

An interview with Hiram Maristany conducted 2021 August 8-10, by E. Carmen Ramos for the Archives of American Art, at Maristany's home in El Barrio, NY.

Biographical / Historical:

Hiram Maristany (1945-2022) was a Puerto Rican American photographer in El Barrio, New York. Maristany was known for his street photography with activist and documentary inflections that reflect the Latinx community of New York City.

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.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Photographers -- New York (State) -- New York  Search this

Topic:

Latino and Latin American artists  Search this

Puerto Ricans -- New York (State) -- New York.  Search this

Genre/Form:

Interviews

Video recordings

Sponsor:

Funding for this interview was provided by the Alice L. Walton Foundation.

Identifier:

AAA.marist21

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw907c30f24-2b9b-4daf-8b86-570b569b0ced

EDAN-URL:

ead_collection:sova-aaa-marist21

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 161, Folder 28

Type:

Archival materials

Date:

2018

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 2: Agencies, Associations, and Organizations

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep81ebf4fd9-d2af-4972-bcd1-6d30605fe834

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2580

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 32, Folder 19

Type:

Archival materials

Date:

2010

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 2: Agencies, Associations, and Organizations

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8354256cc-2d67-4712-a2ea-0ee0003e32e2

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref340

Creator:

McCoy, Esther  Search this

Names:

Historic American Buildings Survey  Search this

Society of Architectural Historians  Search this

University of California, Los Angeles. School of Architecture and Urban Planning  Search this

Ain, Gregory, 1908-1988  Search this

Barragán, Luis, 1902-  Search this

Bradbury, Ray, 1920-2012  Search this

Davidson, Julius Ralph, b. 1889  Search this

Dreiser, Theodore, 1871-1945  Search this

Ellwood, Craig  Search this

Gill, Irving, 1870-1936  Search this

Grotz, Dorothy  Search this

Hollein, Hans, 1934-2014  Search this

Jones, A. Quincy (Archie Quincy), 1913-1979  Search this

Maybeck, Bernard R.  Search this

Neutra, Richard Joseph, 1892-1970  Search this

O'Gorman, Juan, 1905-  Search this

Rand, Marvin  Search this

Schindler, R. M. (Rudolph M.), 1887-1953  Search this

Shulman, Julius  Search this

Soriano, Rafael, 1920-  Search this

Watanabe, Makoto  Search this

Worlidge, T. (Thomas), 1700-1766  Search this

Extent:

44 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Etchings

Photographs

Sound recordings

Interviews

Video recordings

Slides (photographs)

Transcripts

Drawings

Memoirs

Date:

circa 1876-1990

bulk 1938-1989

Summary:

The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.0 linear feet and date from 1876 to 1990 (bulk 1938-1989). McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Scope and Content Note:

The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.0 linear feet and date from 1876 to 1990 (bulk 1938-1989). McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Biographical and family material consists of awards, resumes, identification documents, and other documentation of McCoy's personal life. Included are a transcript of a 1984 interview of McCoy by Makoto Watanabe and material relating to her friend, Theodore Dreiser.

Correspondence focuses on her personal relationships with family, friends, and lovers, and general correspondence relating primarily to her work as a writer. McCoy's personal correspondence is valuable to researchers who are interested in her personal life, her struggles as a young writer, and the way in which her family, friends, lovers, mentors, and colleagues helped to shape her work and career. As documented in this correspondence, her life offers a glimpse into twentieth-century American social and political history, especially the radical leftist movements of the 1920s and 1930s. Researchers interested in the roots of feminism in the United States should also find these papers useful in documenting the life of a creative and productive woman who was successful in a field then almost entirely dominated by men. Correspondents of note include her husband Berkeley Tobey, lovers Geoffrey Eaton and Albert Robert, writers Ray Bradbury and Theodore Dreiser, and artists and architects, such as Dorothy Grotz, Craig Ellwood, A. Quincy Jones, Hans Hollein, and J. R. Davidson. General correspondence is primarily with researchers, professors, architects, publishers, and professional organizations.

Personal writings include McCoy's diaries, notebooks, and memoirs, and writings by others including friends, lovers, and colleagues. Also included are drafts of McCoy's fictional works, both published and unpublished, including short stories, teleplays, and novels.

The collection contains in-depth documentation of McCoy's pioneering study of the modernist work of twentieth-century architects in Southern California. The bulk of her papers consist of her writing files for books, exhibition catalogs, articles, and lectures on architecture. Because many of the architects about whom McCoy wrote were her contemporaries, she developed personal relationships with several of them through her research and writing. Her writing files include drafts, notes, research material, photographs, and correspondence. McCoy also traveled extensively, particularly in Italy and Mexico, and wrote about architecture, craft, and culture in those countries. Project files document McCoy's other activities related to architectural history, such preservation projects, juries, grants, the Dodge House Preservation Campaign and related film project, her work for the Society of Architectural Historians and the Historic American Buildings Survey (HABS), and her work at the UCLA School of Architecture and Urban Planning, compiling a slide library and cataloging the Richard Neutra's papers. McCoy also maintained architect files which may contain correspondence, notes, photographs, research material, interview transcripts, about architects and their works. Among these extensive records, the files documenting the careers of R. M. Schindler, Irving Gill, Richard Neutra, and Juan O'Gorman are particularly rich.

Printed material in this collection documents McCoy's career as well as her personal interests. Included are books, clippings, magazines, newsletters, press releases, as well as publications arranged by subject such as architecture, art, Italy, and Mexico. McCoy also collected literary and leftist publications. The small amount of artwork in this collection consists of artwork sent to her by friends, including a drawing of her by Esther Rollo and etchings by various artists including Thomas Worlidge.

There are personal photographs of family and friends and of McCoy at different times in her life, as well as photographs gathered during the course of her research on architecture. Found here are photographs of architects and their works, including a large number depicting the work of Gregory Ain, Luis Barragan, J. R. Davidson, Irving Gill, Bernard Maybeck, Juan O'Gorman, R. M. Schindler, and Raphael Soriano. Many of these photographs were taken by notable architectural photographers Julius Shulman and Marvin Rand. Also found are photographs of architecture designed for the Case Study House program of Arts & Architecture magazine; exhibition photographs, primarily for the exhibition "Ten Italian Architects" in 1967; and other research photographs primarily documenting architecture and craft in other countries and the history of architecture in California. This series also includes approximately 3,600 slides of architecture.

Audio and video recordings include a videocassette of McCoy's 80th birthday party and 55 taped interviews with architects, people associated with architectural projects, and artists.

Arrangement:

The collection is arranged into 10 series:

Missing Title

Series 1: Biographical and Family Material, 1881-1989 (boxes 1, 48; 0.6 linear feet)

Series 2: Correspondence, 1896-1989 (boxes 1-6, 4.9 linear feet)

Series 3: Personal Writings, 1919-1989 (boxes 6-14; 8.1 linear feet)

Series 4: Architectural Writings, 1908-1990 (boxes 14-24, 42, 49, 50; 10.2 linear feet)

Series 5: Projects, circa 1953-1988 (boxes 24-26, 47, FC 53-56; 2.5 linear feet)

Series 6: Architect Files, 1912-1990 (boxes 26-28, 42; 2.2 linear feet)

Series 7: Printed Material, circa 1885-1990 (boxes 28-31, 42; 2.9 linear feet)

Series 8: Artwork, 1924-1967, undated (box 31; 0.4 linear feet)

Series 9: Photographs and Slides, circa 1876-1989 (boxes 31-38, 41-46, 51; 8.3 linear feet)

Series 10: Audio and Video Recordings, 1930-1984 (boxes 38-40, 47; 2.5 linear feet)

Biographical Note:

Esther McCoy (1904-1989) is remembered best for her pioneering work as an architectural historian, critic, and proponent of Southern California modern architecture of the early to mid-twentieth century. McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. Although her professional interests ranged from writing fiction to studying the folk architecture and crafts of Mexico, McCoy achieved her most notable success for her numerous articles, books, and exhibitions about Southern California architecture and the architects associated with the modernist movement.

Born in Arkansas in 1904, Esther McCoy grew up in Kansas and attended various schools in the Midwest. In 1926 she left the University of Michigan to launch a writing career in New York, where she moved in avant-garde literary circles and conducted research for Theodore Dreiser. She began writing fiction in New York and continued to write after moving to Los Angeles in 1932, working on short stories, novels, and screenplays. She published numerous short stories between 1929 and 1962, with works appearing in the New Yorker, Harper's Bazaar, and university quarterlies. Her short story, "The Cape," was reprinted in Best Short Stories of 1950. Many of the novels that she wrote from the mid-1960s through the 1980s were related thematically to architects and architecture.

During the late 1920s and throughout the 1930s, McCoy participated in the politically radical movements of the period and wrote for leftist publications. Her interest in the lowcost housing projects of modern architects was prompted by one of her articles about slums for Epic News. During World War II she entered a training program for engineering draftsmen at Douglas Aircraft and in 1944 was hired as an architectural draftsman for the architect R.M. Schindler. As she became increasingly interested in modern architecture and design, she combined her two major career interests and began to focus her energies on architectural research, writing, and criticism. Her first article on architecture, "Schindler: Space Architect," was published in 1945 in the journal Direction.

McCoy began writing about architecture in earnest in 1950 as a free-lance contributor to the Los Angeles Times. From then until her death in 1989, she wrote prolifically for Arts & Architecture magazine, Los Angeles Times, Los Angeles Herald Examiner, Architectural Record, L'Architectura, Zodiac (Italy), Progressive Architecture, Lotus (Italy), and Architectural Forum. In addition to her numerous articles, McCoy wrote several books on Southern California modern architecture and architects. Her first major work, Five California Architects, published in 1960, is now recognized as a classic work in modern architectural history. It promoted a serious study of modern architecture in Southern California and introduced to the world several leading California architects and their work: Bernard Maybeck, Irving Gill, Charles and Henry Greene, and R.M. Schindler. That same year, she published another important book focusing on the work of the California architect Richard Neutra. Other books by McCoy include Modern California Houses: Case Study Houses (1962), Craig Ellwood (1968), Vienna to Los Angeles: Two Journeys (1979), and The Second Generation (1984).

In addition to these books, McCoy organized and wrote catalogs for several significant exhibitions focusing on contemporary architects. Her first was the R.M. Schindler Retrospective, a 1954 exhibition at the Landau Art Gallery in Los Angeles. Her other exhibitions and accompanying catalogs include Roots of California Contemporary Architecture, 1956, Los Angeles Municipal Art Department; Felix Candela, 1957, University of Southern California, Los Angeles; Irving Gill, 1958, Los Angeles County Museum of Art; Juan O'Gorman, 1964, San Fernando Valley State College; and Ten Italian Architects, 1967, Los Angeles County Museum of Art. Moreover, McCoy contributed numerous essays to other exhibition catalogs and publications, lectured at the University of Southern California, participated in preservation projects, organized tours for the Society of Architectural Historians, and contributed to a number of documentary films. Her energy and interests also led her to catalog and transcribe Richard Neutra's papers at the University of California Los Angeles Archives.

McCoy received national recognition from the American Institute of Architects for her seminal and prolific work in the field of Southern California modern architectural history and criticism. Her interests, however, were not exclusively bound to California. She traveled the world and was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. She made five extended trips to Italy during the 1950s and 1960s, publishing regularly about the architecture there and curating the exhibition Ten Italian Architects. She was a contributing editor to two Italian journals, Zodiac and Lotus, and was awarded the Star of Order of Solidarity in 1960 by the Republic of Italy for her research and writing.

Esther McCoy died of emphysema on December 30, 1989, at the age of eighty-five. Her last contribution was an essay for the exhibition catalog Blueprints for Modern Living: History and Legacy of the Case Study House. The show opened at the Museum of Contemporary Art in Los Angeles one month before her death.

Missing Title

1904 -- Born November 18 in Horatio, Arkansas. Raised in Kansas.

1920 -- Attended preparatory school at Central College for Women, Lexington, Missouri.

1922-1925 -- College education: Baker University, Baldwin City, Kansas; University of Arkansas, Fayetteville; Washington University, St. Louis, Missouri; University of Michigan.

1924 -- Visited Theodore Dreiser in Michigan.

1926-1938 -- Began writing in New York City.

1926-1938 -- Researched and read for Theodore Dreiser.

1926-1938 -- Worked for editorial offices and publishers.

1926-1938 -- Traveled to write in Paris (1928), Key West, Florida (1930), and Los Angeles, California (1932-1935).

1938 -- Moved to Santa Monica, California.

1941 -- Married Berkeley Greene Tobey.

1942-1944 -- Employed as engineering draftsman at Douglas Aircraft.

1944-1947 -- Worked as architectural draftsman for R.M. Schindler.

1945 -- Began architectural writing career.

1950 -- Wrote script for film Architecture West.

1950 -- Joined editorial board of Arts & Architecture.

1950-1968 -- Worked as free-lance writer for the Los Angeles Times.

1951-1955 -- Traveled to, researched, and wrote about Mexico and Mexican art and architecture.

1954 -- R.M. Schindler Retrospective exhibition at the Landau Art Gallery, Los Angeles.

1956 -- Roots of California Contemporary Architecture exhibition, Los Angeles Municipal Art Department.

1957 -- Felix Candela exhibition, University of Southern California, Los Angeles.

1958 -- Irving Gill exhibition, Los Angeles County Museum of Art. Traveled to Italy.

1959-1968 -- Contributing editor to Italian periodicals Zodiac and Lotus.

1960 -- Five California Architects (New York: Reinhold).

1960 -- Richard Neutra (New York: G. Braziller).

1960 -- Awarded Star of Order of Solidarity by the Republic of Italy for reporting on arts and crafts in Italy.

1962 -- Death of Berkeley Greene Tobey.

1962 -- Modern California Houses: Case Study Houses (New York: Reinhold) (reprinted as Case Study Houses, Los Angeles: Hennessey and Ingalls, 1978).

1963 -- Resident Fellow at Huntington Hartford Foundation.

1964 -- Juan O'Gorman exhibition, San Fernando Valley State College, Northridge, Calif.

1965 -- Consultant for the California Arts Commission.

1965-1966 -- Wrote and produced the film Dodge House.

1965-1968 -- Lecturer at University of California at Los Angeles, School of Architecture and Urban Planning.

1966 -- Resident Fellow at MacDowell Colony, New Hampshire.

1967 -- Ten Italian Architects exhibition, Los Angeles County Museum of Art.

1967 -- Honorary Associate of the Southern California Chapter of the American Institute of Architects.

1967 -- Regents' Lecturer at University of California, Santa Barbara.

1968 -- Craig Ellwood (New York: Walker).

1968 -- Distinguished Service Citation from the California Council of AIA.

1969-1970 -- Lecturer at the University of California, Santa Barbara.

1969-1989 -- Contributing editor of Progressive Architecture.

1971-1978 -- Graham Foundation Grants.

1974 -- Regents' Lecturer at the University of California,Santa Cruz.

1979 -- Vienna to Los Angeles: Two Journeys (Santa Monica, Calif.: Arts & Architecture Press).

1979 -- Guggenheim Foundation Fellowship.

1981 -- Los Angeles Chapter Women's Architectural League Honorary Member.

1982 -- Los Angeles County Museum of Art's Modern and Contemporary Art Council Award for Distinguished Achievement.

1983 -- Home Sweet Home: The California Ranch House exhibition at California State University.

1984 -- The Second Generation (Salt Lake City: Peregrine Smith Books).

1985 -- American Institute of Architects, Institute Honor.

1986 -- High Styles exhibition at the Whitney Museum of American Art.

1987 -- Vesta Award for outstanding scholarship.

1989 -- Award from the Historical Society of Southern California.

1989 -- Award from the City of Los Angeles Department of Cultural Affairs.

1989 -- Blueprints for Modern Living: History and Legacy of the Case Study House exhibition at the Museum of Contemporary Art, Los Angeles. Died in Santa Monica, California, December 30.

Related Material:

Also in the Archives of American Art are eight sound cassettes of a transcribed interview with Esther McCoy conducted by Joseph Giovannini, June 8-November 14, 1987.

Provenance:

The collection was given to the Archives of American Art by Esther McCoy in 1986. Before her death in 1989, McCoy assisted in the organization and identification of the papers. Original pre-print film elements for Dodge House 1916 were donated to the Archives of American Art by the Academy Film Archive in 2018.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.

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:

Architectural historians -- California  Search this

Art critics -- California  Search this

Topic:

Architecture, Modern -- 20th century -- Mexico  Search this

Architects -- Italy  Search this

Architecture, Domestic -- California  Search this

Authors -- California  Search this

Architecture, Modern -- 20th century -- California  Search this

Architecture, Modern -- 20th century -- Europe  Search this

Architects -- California  Search this

Feminism and art  Search this

Latino and Latin American artists  Search this

Genre/Form:

Diaries

Etchings

Photographs

Sound recordings

Interviews

Video recordings

Slides (photographs)

Transcripts

Drawings

Memoirs

Citation:

Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.

Identifier:

AAA.mccoesth

See more items in:

Esther McCoy papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93ee58e3b-f2fc-4d98-acf9-de6f76bfed63

EDAN-URL:

ead_collection:sova-aaa-mccoesth

Creator:

Salinas, Baruj  Search this

Names:

Amsterdam (Netherlands). Stedelijk Museum  Search this

Rijksmuseum (Netherlands)  Search this

Van Gogh Museum, Amsterdam  Search this

Alejandro, Ramon  Search this

Algaze, Mario Arturo, 1947-  Search this

Armand, Octavio, 1946-  Search this

Calder, Alexander, 1898-1976 -- Photographs  Search this

Carulla, Ramón, 1938-  Search this

Cubiles, Miguel  Search this

Cubiles, Miguel -- Photographs  Search this

Cuevas, José Luis, 1934- -- Photographs  Search this

Estopiñán, Roberto, 1921-  Search this

Ferrer, Joaquin  Search this

Fonts, Marilyn  Search this

Fonts, Marilyn -- Photographs  Search this

Franqui, Camilo  Search this

Franqui, Carlos, 1921-  Search this

Franqui, Carlos, 1921- -- Photographs  Search this

Godoy, Gustavo G.  Search this

Gutierrez, Osvaldo -- Photographs  Search this

Kohler, Elizabeth  Search this

Kohler, Peter  Search this

Linder, Gisele  Search this

Lozano Castro, Alfredo  Search this

Lozano Castro, Alfredo -- Photographs  Search this

Macia, Carlos A., 1951-1994  Search this

McBride, Robert H.  Search this

Miró, Joan, 1893- -- Photographs  Search this

Pau-Llosa, Ricardo  Search this

Riverón, Enrique  Search this

Rodríguez, Bélgica, 1941-  Search this

Roel, Guillermo  Search this

Salinas, Isaac  Search this

Salinas, Rosa  Search this

Samelson, Henry  Search this

Serur, David  Search this

Soriano, Rafael, 1920-  Search this

Tamayo, Rufino, 1899-1991 -- Photographs  Search this

Toonkel, Gail  Search this

Valente, José Angel  Search this

Vidal, Juan -- Photographs  Search this

Ward, Bettie  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1971-1996

Summary:

The papers of Cuban born painter Baruj Salinas measure 0.4 linear feet and date from 1971-1996. The collection documents the artist's prolific painting career and his friendships and professional relationships with a variety of contemporary artist in the U.S. and Europe. The papers of Baruj Salinas are an important addition to the documentation of Cuban-American art and artists.

Scope and Content Note:

The papers of Cuban born painter Baruj Salinas measure 0.4 linear feet and date from 1971-1996. The collection primarily consists of letters from friends and artists. Also found are diary entries, scattered financial and business papers, printed material, and photographs. Of special interest in the last series are photographs taken of a visit to the home and art studio of Spanish artist Joan Miró.

Arrangement:

The collection is arranged as six series.

Missing Title

Series 1: Diary Entries, 1982 (box 1; 1 folder)

Series 2: Letters Received, 1979-1996, undated (box 1; 21 folders)

Series 3: Financial Papers, 1993-1994 (box 1; 1 folder)

Series 4: Printed Material, 1976-1992, undated (box 1; 2 folders)

Series 5: Photographs, 1971-1992, undated (box 1; 3 folders)

Series 6: Miscellany, 1992 (box 1; 1 folder)

Biographical Note:

Born in Havana, painter Baruj Salinas' (b. 1938) career began in the field of architecture. He graduated from the University of Ohio with an architectural degree and left Cuba permanently in 1959. Salinas settled in Miami and later moved to Barcelona where he studied alongside artists Joan Miró and Antoni Tàpies.

Provenance:

Baruj Salinas donated his papers to the Archives of American Art in 1997.

Restrictions:

The collection is open for research. Use requires an appointment.

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:

Painters -- Florida -- Miami  Search this

Painters -- Cuba -- Havana  Search this

Topic:

Latino and Latin American artists  Search this

Cuban American art  Search this

Genre/Form:

Photographs

Citation:

Baruj Salinas papers, 1971-1996. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.salibaru

See more items in:

Baruj Salinas papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw955c01a21-8060-473a-a14c-946c313a0ca4

EDAN-URL:

ead_collection:sova-aaa-salibaru

Creator:

Riverón, Enrique  Search this

Names:

Wichita State University -- Faculty  Search this

Baker, Josephine, 1906-1975  Search this

Bermúdez, Cundo, 1914-2008  Search this

Cantinflas, 1911-1993  Search this

Carreño, Mario  Search this

Carreño, Mario -- Photographs  Search this

Cugat, Xavier, 1900- -- Photographs  Search this

De Diego, Julio, 1900-  Search this

García Lorca, Federico, 1898-1936  Search this

Gattorno, Antonio  Search this

Gómez Sicre, José  Search this

Hughes, Langston, 1902-1967  Search this

Kiki, 1901-1953  Search this

Lozano Castro, Alfredo  Search this

Milland, Ray -- Photographs  Search this

Neruda, Pablo, 1904-1973 -- Photographs  Search this

Orozco, José Clemente, 1883-1949 -- Photographs  Search this

Peláez, Amelia, 1897-1968 -- Photographs  Search this

Picasso, Pablo, 1881-1973  Search this

Pidgeon, Walter, 1897-  Search this

Prohias, Antonio  Search this

Rebajes, Pauline  Search this

Reed, Alma M. -- Photographs  Search this

Russell, Rosalind -- Photographs  Search this

Salinas, Baruj  Search this

Sicre, Juan José -- Photographs  Search this

Siqueiros, David Alfaro, 1896-1974 -- Photographs  Search this

Tamayo, Rufino, 1899-1991 -- Photographs  Search this

Waguermert, Luis Gomez -- Photographs  Search this

Yunkers, Adja, 1900-1983  Search this

Extent:

3.3 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Date:

1918-1990s

Summary:

The papers of Cuban born painter, sculptor, cartoonist, and illustrator Enrique Riverón measure 3.3 linear feet and date from 1918-1990s. The collection contains correspondence, writings, diary entries, scrapbooks, printed material, and photographs documenting Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, Riverón's teaching career at Wichita University in Kansas.

Scope and Content Note:

The papers of Cuban born painter, sculptor, cartoonist, and illustrator Enrique Riverón measure 3.3 linear feet, date from 1918-1990s and document Riverón's career as an illustrator, cartoonist, painter and sculptor in the United States and Cuba and, to a lesser extent, his teaching career at Wichita University in Kansas. The collection includes correspondence, the majority of which concerns Riverón's exhibitions; writings, primarily Riverón's recollections of his trips to Paris and Madrid and his memories of people he met in Latin America, Europe, and the United States; printed material documenting exhibitions and Riverón's work for magazines such as Cine-Mudial and Bally-Hoo; and photographs.

Arrangement:

The collection is organized into eight series.

Missing Title

Series 1: Biographical Material, circa 1929-1960 (Box 1; 2 folders)

Series 2: Correspondence, 1918-1991 (box 1, 0.6 ft.)

Series 3: Writings, 1923-1980s, undated (box 1, 0.2 ft.)

Series 4: Scrapbooks, 1920s-1990s, undated (boxes 1, 3, and 4, 0.7 ft.)

Series 5: Artwork, 1958-1983, undated (boxes 1 and 5, 0.4 ft.)

Series 6: Printed Material, circa 1930-1992 (boxes 2 and 5, 0.7 ft.)

Series 7: Photographs, 1918-1992, undated (boxes 2, 5 and 6, 0.6 ft.)

Series 8: Miscellany, 1927-1989, undated (box 6, 7 folders)

Biographical Note:

Painter, sculptor, cartoonist, and illustrator Enrique Riverón was born in 1902 in Cienfuegos, Cuba and belonged to the first generation of Cuban modernists, experimenting with Cubism and pursuing abstraction from very early on in his career. During his early twenties Riverón traveled to France, Italy, Belgium, and Spain to study under scholarships and attend the Academia de San Fernando in Madrid. In 1926 Riverón's first major one-man exhibition took place at the Association Paris Amerique Latine where the catalog introduction was written by noted Mexican writer Alfonso Reyes.

In 1927 Riverón returned to Havana and had a one-man show of his European work at the Asociación de Pintores y Escultores, as well as several other shows in Havana and New York. He moved to the United States in 1930 and became a United States citizen in 1943.

In addition to being known for his naturalistic drawings of street life in Paris and Cuba, Riverón began working with collage in the 1930s and was, for a number of years, a cartoonist for newspapers in Havana and other publications such as The New Yorker and Cine Mundial which was published in New York and widely circulated in Latin America. He also worked in Hollywood for a time as an illustrator for Walt Disney Pictures.

From 1940 on, Riverón focused on painting and sculpture. He moved to Miami from Wichita, Kansas, in 1964. Enrique Riverón died in 1998.

Related Material:

The Archives of American Art also has a collection of Enrique Riverón letters to Mario Carreño, 1981-1990, in which Riverón writes of their mutual friends, his memories of Cuba, health issues, politics, pricing paintings, collages, and his longings for Paris and New York.

Provenance:

The Enrique Riverón papers were donated to the Archives of American Art by Patricia Riverón Lee, daughter of Riverón, in 1996.

Restrictions:

The collection is open for research. Use requires an appointment.

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:

Illustrators  Search this

Cartoonists  Search this

Topic:

Artists -- Florida -- Miami  Search this

Cuban American art  Search this

Artists -- Cuba  Search this

Expatriate artists -- Florida -- Miami  Search this

Cuban American artists  Search this

Magazine illustration  Search this

Caricatures and cartoons  Search this

Sculptors -- Florida -- Miami  Search this

Latino and Latin American artists  Search this

Genre/Form:

Scrapbooks

Photographs

Citation:

Enrique Riverón papers, 1918-1990s. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.riveenri

See more items in:

Enrique Riverón papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f97ec4c1-ff24-4264-8862-e6c643037bb5

EDAN-URL:

ead_collection:sova-aaa-riveenri

Interviewee:

Mijangos, Alberto, 1925-  Search this

Interviewer:

Cordova, Cary  Search this

Creator:

Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this

Names:

Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this

Casas, Mel, 1929-2014  Search this

Gamboa, Raul  Search this

Goitia, Francisco, 1882-1960  Search this

Orozco, José Clemente, 1883-1949  Search this

Rivera, Diego, 1886-1957  Search this

Rothko, Mark, 1903-1970  Search this

Sanchez, Gabriel  Search this

Siqueiros, David Alfaro, 1896-1974  Search this

Tamayo, Olga  Search this

Tamayo, Rufino, 1899-1991  Search this

Extent:

65 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2003 Dec. 5-12

Scope and Contents:

An interview of Alberto Mijangos conducted 2003 Dec. 5- 12, by Cary Cordova, for the Archives of American Art, in San Antonio, Tex.

Mijangos speaks of his family background, early childhood memories and early art education at San Carlos Academy of Art; the Air Force in Mexico; Los Tres Grandes, Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros; coming to the United States; painting bull fighters; leaving Texas for Chicago; favorite paintings at the Art Institute of Chicago; moving to San Antonio; suspicion of being a communist; becoming a Mexican diplomat; working with Mel Casas who led Mijangos to abstraction; Con Safo; difficulty in achieving respect from Americans; moving to Oaxaca, working there and trying to fit in; returning to San Antonio, changing his lifestyle; changing inspiration, Mark Rothko and Mijangos new use for color; tee-shirt paintings; his relationship with galleries; the artistic community of San Antonio; his use of numbers and fabric in his paintings; interest and use of photography in his artwork. Mijangos also recalls Raul Gamboa, Rufino and Olga Tamayo, Gabriel Sanchez, Francisco Goitia and others.

Biographical / Historical:

Alberto Mijangos (1925-2007) was a Mexican born artist from San Antonio, Tex. Cary Cordova (1970- ) is an art historian from Austin, Tex.

General:

Originally recorded on 5 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 4 hrs., 48 min.

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.

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Painters -- Texas -- San Antonio -- Interviews  Search this

Mexican American artists  Search this

Mexican American art  Search this

Painting -- Technique  Search this

Latino and Latin American artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.

The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.mijang03

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98362e110-d323-49d3-a529-849282ea1ff6

EDAN-URL:

ead_collection:sova-aaa-mijang03

Interviewee:

Orozco, Sylvia, 1954-  Search this

Interviewer:

Cordova, Cary  Search this

Creator:

Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this

Names:

League of United Chicano Artists  Search this

Mexic-Arte Museum (Austin, Tex.)  Search this

Recuerdos Orales: Interviews of the Latino Art Community in Texas  Search this

Alvarez Bravo, Manuel, 1902-  Search this

Barraza, Santa  Search this

Cardenas, Gilberto  Search this

Coronado, Sam  Search this

Dodson, Nora Gonzales  Search this

Fearing, Kelly  Search this

Frary, Michael, 1918-  Search this

Orozco, José Clemente, 1883-1949  Search this

Pace, Linda  Search this

Pulido, Piu  Search this

Rivera, Diego, 1886-1957  Search this

Siqueiros, David Alfaro, 1896-1974  Search this

Starpattern, Rita  Search this

Trevino, Barbina Modesta  Search this

Extent:

76 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2004 Jan. 26-Feb. 2

Scope and Contents:

An interview of Sylvia Orozco conducted 2004 Jan. 26-Feb. 2, by Cary Cordova, for the Archives of American Art, in Mexic-Arte Gallery, Austin, Tex.

Orozco speaks of her family history, having the best drawing in second grade, the earliest recollection of being an artist; Camp Fire Girls; painting for high school pep squad and protest signs; growing up in Cuero, Tex.; integration in high school; Texas A and I; the Raza Unida movement; University of Texas; the Conferencia del Plastica Chicana, held September 13-16, 1979 in Austin, Tex.; MECha, the Movimiento Estudiantil Chicano de Aztlan; the effect of her work as a curator on her ability to do her own artwork; CONACYT, National Council of Arts and Technology; her passion for Jose Clemente Orozco, Diego Rivera and David Alfaro Siqueiros; meeting Pio Pulido; LUChA, the League of United Chicano Artists; organizing an exhibition on Manuel Alvarez Bravo at the Texas Memorial Museum; the beginnings of Mexic-Arte Gallery; the group Women and Their Work; the installation "Counter Colon-ialismo"; alternative spaces and museums; and future plans for Mexic-Arte Gallery. Orozco also recalls Santa Barraza, Kelly Fearing, Mike Frary, Sam Coronado, Barbina Modesta Treviño, Nora Gonzalez-Dodson, Linda Pace, Rita Starpattern, Gilbert Cardenas, and others.

Biographical / Historical:

Sylvia Orozco (1954- ) is an artist from Austin, Tex. Cary Cordova (1970-) is an art historian from Austin, Tex.

General:

Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 3 hrs., 55 min.

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.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Museum directors -- Texas  Search this

Topic:

Mexican American artists  Search this

Curators -- Texas -- Interviews  Search this

Women artists  Search this

Latino and Latin American artists  Search this

Chicano artists  Search this

Chicano artists  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview is part of the series "Recuerdos Orales: Interviews of the Latino Art Community in Texas," supported by Federal funds for Latino programming, administered by the Smithsonian Center for Latino Initiatives.

The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.orozco04

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995bf7858-7160-4b56-9bde-5be575c8cf47

EDAN-URL:

ead_collection:sova-aaa-orozco04

Creator:

Stendahl Art Galleries  Search this

Names:

Couvoisier Galleries  Search this

Demotte, inc. (New York, N.Y.)  Search this

Thomas Gilcrease Institute of American History and Art  Search this

Wildenstein and Company (New York, N.Y.)  Search this

Archipenko, Alexander, 1887-1964  Search this

Beltrán-Masses, Federico, 1885-1949  Search this

Calder, Alexander, 1898-1976  Search this

Cantú, Federico, 1908-1989  Search this

Charlot, Jean, 1898-1979  Search this

De Creeft, José, 1884-1982  Search this

Eddy, Jerome  Search this

Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this

Gelhaar, Emil  Search this

Genth, Lillian Mathilde, 1876-1953  Search this

Gilbert, Arthur Hill, 1894-1970  Search this

Guthrie, George B.  Search this

Hansen, Armin C. (Armin-Carl), 1886-1957  Search this

Kandinsky, Wassily, 1866-1944  Search this

Kent, Rockwell, 1882-1971  Search this

Kleitsch, Joseph, 1885-1931  Search this

Knight, Aston, 1873-1948  Search this

Kronberg, Louis, 1872-1965  Search this

Laurence, Sydney, 1868-1940  Search this

Loeffler, Gisella, 1900-  Search this

Montenegro, Roberto, 1887-1968  Search this

Mérida, Carlos, 1891-1984  Search this

Noguchi, Isamu, 1904-1988  Search this

Orozco, José Clemente, 1883-1949  Search this

Pach, Walter, 1883-1958  Search this

Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this

Pearson, Ralph M., 1883-1958  Search this

Picasso, Pablo, 1881-1973  Search this

Ritschel, William, 1864-1949  Search this

Rivera, Diego, 1886-1957  Search this

Rose, Ethel Boardman, 1871-1946  Search this

Rose, Guy, 1867-1925  Search this

Schofield, Walter Elmer, 1867-1944  Search this

Siqueiros, David Alfaro, 1896-1974  Search this

Stendahl, Earl L.  Search this

Szecsi, Ladislas  Search this

Wendt, William, 1865-1946  Search this

Zuloaga, Ignacio, 1870-1945  Search this

Extent:

7.5 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Scrapbooks

Date:

1907-1971

Summary:

The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Scope and Contents:

The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.

Arrangement:

The collection is arranged as 4 series.

Missing Title

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)

Biographical / Historical:

Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.

Provenance:

The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art -- New Guinea  Search this

Latino and Latin American artists  Search this

Landscape painting  Search this

Prints  Search this

Art, American  Search this

Art, Modern -- 20th century -- California -- Los Angeles  Search this

Function:

Art galleries, Commercial -- California

Genre/Form:

Gallery records

Scrapbooks

Citation:

Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.stenartg

See more items in:

Stendahl Art Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c32bcaf5-5f80-49c8-b1c3-5b09a2ad6c9b

EDAN-URL:

ead_collection:sova-aaa-stenartg

Author:

Winnie, William W 1928-  Search this

Physical description:

xv, 255 pages 24 cm

Type:

Books

Place:

Latin America

Amérique latine

Date:

1967

1945-1982

1982-

Topic:

Economie, Développement, Amérique latine  Search this

Sociologie, Amérique latine  Search this

Economic development  Search this

Economic policy  Search this

Infrastructure  Search this

Regional development  Search this

Rural development  Search this

Social conditions  Search this

Social organization  Search this

Politique économique  Search this

Conditions sociales  Search this

Call number:

F1401 .C153 v.8

F1401.C153 v.8

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_4559

Measurements:

overall: 38 1/2 in x 32 in x 1 in; 97.79 cm x 81.28 cm x 2.54 cm

Object Name:

artwork, painted silk

Subject:

Latino  Search this

Related event:

Korean War  Search this

ID Number:

2021.0189.01

Catalog number:

2021.0189.01

Accession number:

2021.0189

See more items in:

Political and Military History: Armed Forces History, Military

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng4ee4c7080-ebb7-4f62-b77b-3c89412f901b

EDAN-URL:

edanmdm:nmah_2020059

Measurements:

overall: 7 1/4 in x 9 in x 12 in; 18.415 cm x 22.86 cm x 30.48 cm

Object Name:

helmet

Subject:

Latino  Search this

Related event:

Korean War  Search this

ID Number:

2021.0189.02

Catalog number:

2021.0189.02

Accession number:

2021.0189

See more items in:

Political and Military History: Armed Forces History, Military

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng413fcf359-fa59-4805-88f5-21831bbc3221

EDAN-URL:

edanmdm:nmah_2020062

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Blog posts

Smithsonian staff publications

Blog posts

Published Date:

Fri, 11 Aug 2023 19:24:00 GMT

Topic:

Cultural property  Search this

See more posts:

Festival Blog

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

EDAN-URL:

edanmdm:posts_a0656c2bd5129c1cf2ad97ee4c062f21

Collection Creator:

Los Angeles Institute of Contemporary Art  Search this

Container:

Box 13, Folder 53

Type:

Archival materials

Date:

1982

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Los Angeles Institute of Contemporary Art records, 1973-1988. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation.

See more items in:

Los Angeles Institute of Contemporary Art records

Los Angeles Institute of Contemporary Art records / Series 6: Publications / 6.2: Journal / Issue #33

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw984de3393-4b14-4c0b-a2ed-b704b1b38c4a

EDAN-URL:

ead_component:sova-aaa-losangin-ref819

Creator:

Vargas, Kathy  Search this

Names:

Guerrilla Girls (Group of artists)  Search this

Goldberg, Jim, 1953-  Search this

Lippard, Lucy R.  Search this

Perrone, Jeff  Search this

Extent:

10.8 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Video recordings

Interviews

Date:

circa 1965-2016

Summary:

The papers of San Antonio-based educator and photographer Kathy Vargas measure 10.8 linear feet and date from circa 1965-2016. Vargas's career is documented through biographical material, correspondence, writings and notes, project and exhibition files, professional files, and printed material.

Scope and Contents:

The papers of San Antonio-based educator and photographer Kathy Vargas measure 10.8 linear feet and date from circa 1965-2016. Vargas's career is documented through biographical material, correspondence, writings and notes, project and exhibition files, professional files, and printed material.

The collection contains biographical materials, including a video recording of an interview, photographs of family and friends, and records for Vargas's studies at the University of Texas. Correspondence is with Lucy Lippard, Jim Goldberg, Jeff Perrone, colleagues, and others. Topics of professional correspondence includes exhibitions, publications, and residencies. Writings and notes that include five notebooks, manuscripts by Vargas and others, notes, and lecture and panel talks. Project and exhibition files document her work on major exhibitions of Chicano art, and include twelve sound recordings of interviews for the exhibition Hospice: A Photographic Inquiry. Other projects include the Guerrilla Girls Fotonovela and research on San Antonio shrines. Professional files document Vargas's activities on various boards and committees, employment, and for her work on selection panels. Printed material includes clippings, exhibition material, magazines, posters, and other publications.

Arrangement:

The collection is arranged as six series.

Series 1: Biographical Material, circa 1965-2014 (Boxes 1, 12; 0.4 linear feet)

Series 2: Correspondence, 1979-2014 (Boxes 1-5, 12; 4.0 linear feet)

Series 3: Writings and Notes, circa 1985-2014 (Boxes 5-6; 1.0 linear feet)

Series 4: Project and Exhibition Files, 1984-2004 (Boxes 6-8, 12; 2.0 linear feet)

Series 5: Professional Files, 1975-2016 (Boxes 8-9; 1.0 linear feet)

Series 6: Printed Material, 1974-circa 2010 (Boxes 9-12, OV 13; 2.4 linear feet)

Biographical / Historical:

Kathy Vargas (1950- ) is an educator and photographer in San Antonio, Texas.

Vargas's early influences were the stories of her elder family members, Catholicism, and her uncle Antonio Valdez, a photographer. In the early 1970s, Vargas became acquainted with rock and roll photographers who introduced her to their world of professional photography. Her interest led to taking photography classes at the Southwest Craft Center where she studied under photographer Tom Wright. She quickly became captivated with the art form and started freelancing as a rock and roll photographer. Around this time, Vargas also became familiar with Chicano art and the artist group Con Safo, co-founded by Mel Casas. Vargas and Casas maintained their friendship until his death.

In addition to attending the Southwest Craft Center, Vargas also attended San Antonio College. She went on to earn a Bachelor of Fine Art in 1981 and a Master of Fine Art in 1984 from the University of Texas in San Antonio. Vargas has exhibited her work, as well as curated numerous exhibitions in the U.S. and abroad, collaborating with colleagues such as Jim Goldberg, close friend Lucy Lippard, and others. Vargas is a professor and art department chair at the University of the Incarnate Word where she developed a Bachelor of Fine Art program for photography. Previously she was the Visual Arts Director at the Guadalupe Cultural Arts Center.

Related Materials:

Also found at the Archives of American Art is an oral history with Kathy Vargas conducted by Jacinto Quirarte, in San Antonio, Texas on November 7-25, 1997 for the Archives of American Art.

Provenance:

The Kathy Vargas papers were donated in 2016 by Vargas.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival records with audiovisual records with no duplicate copies requires advance notice.

Occupation:

Photographers -- Texas -- San Antonio  Search this

Educators -- Texas -- San Antonio  Search this

Topic:

Women artists  Search this

Latino and Latin American artists  Search this

Women educators  Search this

Women photographers  Search this

Genre/Form:

Sound recordings

Video recordings

Interviews

Citation:

Kathy Vargas papers, circa 1965-2016. 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.

Identifier:

AAA.vargkath

See more items in:

Kathy Vargas papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9df2e88f7-b49c-4ab4-8553-20879b653cff

EDAN-URL:

ead_collection:sova-aaa-vargkath

Creator:

Kelker, Nancy L.  Search this

Names:

Casas, Mel, 1929-2014  Search this

Valdez, Vincent  Search this

Extent:

1.3 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Lectures

Sound recordings

Video recordings

Date:

1890-circa 2011

bulk 1968-2005

Summary:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Scope and Contents:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB and dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Arrangement:

The collection is arranged as three series.

Series 1: Interviews and Talks, 1999-2005 (Box 1; 4 folders, ER01; 0.001 GB)

Series 2: Research and Project Files, 1978-2001 (Box 1; 0.4 linear feet)

Series 3: Printed Materials, 1890-circa 2000 (Box 1, OVs 2-4; 0.5 linear feet)

Biographical / Historical:

Nancy Kelker (1951- ) is an art historian in Murfreesboro, Tennessee. and the author of Mel Casas: Artist as Cultural Adjuster.

Mel Casas (1929-2014) was a painter and educator in San Antonio, Texas. Casas was a member of Con Safo, an organization that promoted Chicano concepts and the Chicano art movement. Humanscapes, Casas' series of 150 paintings, was produced between 1965 and 1989 and has been exhibited throughout the U.S. and Mexico. Casas died in San Antonio, Texas. in 2014.

Provenance:

The Nancy Kelker research material regarding Mel Casas was donated in 2016 by Nancy Kelker.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Topic:

Chicano movement  Search this

Mexican American art  Search this

Latino and Latin American artists  Search this

Genre/Form:

Interviews

Lectures

Sound recordings

Video recordings

Citation:

Nancy Kelker research material regarding Mel Casas, 1890-circa 2011, bulk 1968-2005. 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.

Identifier:

AAA.kelknanc

See more items in:

Nancy Kelker research material regarding Mel Casas

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b5141e8-5635-4d38-852f-4a8d3cacc57d

EDAN-URL:

ead_collection:sova-aaa-kelknanc

Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Names:

Mexican Museum  Search this

Royal Chicano Air Force  Search this

Studio 24 (San Francisco, Calif.)  Search this

Garza, Carmen Lomas  Search this

Goldman, Shifra M., 1926-2011  Search this

Mesa-Bains, Amalia  Search this

Extent:

33.1 Linear feet

1.27 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Slides (photographs)

Interviews

Place:

Mexico -- Religious life and customs

Date:

1965-2004

Summary:

The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.

Scope and Content Note:

The research material of Tomás Ybarra-Frausto, amassed throughout his long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States. As community leader and scholar, Ybarra-Frausto played dual roles of active participant and historian in the Chicano movement, chronicling this unique political and artistic movement from its inception in the 1960s to the present day.

Deeply rooted in American history, "El Movimiento," the Chicano movement, evolved from Mexican-Americans' struggle for self-determination during the civil rights era of the 1960s. It began as a grassroots community effort that enlisted the arts in the creation of a united political and cultural constituency. Chicano artists, intellectuals, and political activists were instrumental in mobilizing the Mexican-American community for the cause of social justice, and the movement was shaped by the affirmation of a cultural identity that embraced a shared heritage with Mexico and the United States.

Just as "El Movimiento" aimed to instruct and inspire through the recollection and conservation of culture, Ybarra-Frausto's own career as scholar and historian helped to shape the intellectual discourse of the Chicano art. As a leading historian and theoretician in the field of Chicano Studies, he has written extensively on the subject, and has been instrumental in defining the canons of Chicano art. His papers are accordingly rich and varied, and they will be of great use to future scholars.

His research material, dating from 1965 to 1996, are arranged in subject files containing original writings, notes, bibliographies compiled by Ybarra-Frausto and others, exhibition catalogues, announcements, newspaper clippings and other printed material, as well as slides and photographs. Many of these files also include interview transcripts and correspondence with prominent figures in the movement. While this research collection contextualizes Chicano art within the larger framework of Latino and Latin-American culture, the bulk of the files relates specifically to Chicano visual culture. The collection also contains pertinent documentation of the Chicano civil rights movement, material on Chicano poets and writers, and research files on the wider Hispanic community, but these also appear within the context of Chicano culture in general.

Prominent among the bibliographies are the many notes and drafts related to the publication of A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981 (University of California, Berkeley, 1985), which Ybarra-Frausto co-authored with Shifra Goldman. Ybarra-Frausto's files on Goldman, like other files in the collection, document his close associations and collaborations with scholars.

Art historians have traditionally found the categorization of Chicano art a difficult task. Unsure whether to classify the work as "American" or "Latin American," critics often ignored the work altogether. An outgrowth of this dilemma was the proliferation of artists, curators, and critics within the Chicano community, and the papers contain many original writings by Chicano artists about Chicano art, found in extensive files on artists that will be of particular significance to researchers. These often contain exhibition essays, dissertation proposals, and course outlines authored by the artists, along with the standard biographies, exhibition records, and reviews. Some of the files contain rare interviews conducted and transcribed by Ybarra-Frausto. Highlights include conversations with Carmen Lomas Garza, Amalia Mesa-Bains, and members of the Royal Chicano Air Force artist cooperative.

As a member of several Chicano art organizations and institutions, Ybarra-Frausto kept active records of their operation. The extensive files on the Mexican Museum and Galerie de la Raza/Studio 24, both in San Francisco, not only chronicle the history of Chicano art through the records of exhibitions and programming, but also offer case studies on the development of non-profit art institutions. The files on artist cooperatives, organizations, and exhibition spaces cover several regions of the United States, but focus on California, Texas and New York.

Two notable events in the development of Chicano art were the 1982 Califas: Chicano Art and Culture in California seminar at the University of California at Santa Cruz, and the 1990 traveling exhibition Chicano Art: Resistance and Affirmation, 1965-1985 (CARA), of which Ybarra-Frausto served as organizer and catalogue essayist. His records document the planning and development of these seminal events. Ybarra-Frausto's files on folk art, altars, posters, murals, performance art, border art, Chicana feminist art, and Southwestern and Mexican imagery (both urban and rural expressions) mirror the diverse forms and subject matter of Chicano art.

Spanning almost four decades of American culture from a Chicano perspective, these files have a unique historical value. The legacy of Chicano art and its contribution to the cultural landscape of this country, kept alive in Ybarra-Frausto's files, attests to the richness and diversity of American art.

Henry C. Estrada

Research Fellow, 1997.

Arrangement:

The collection is arranged as a single series of subject files. The general contents of each folder have been listed. The subject files are arranged in alphabetical order. While no two files are alike, they may contain résumés, printed and digital material, letters, draft writings, and photographs. Unless otherwise noted, each listing represents one file folder. The abbreviation TYF was used to refer to the name Tomá Ybarra-Frausto throughtout the Series Description.

Autobiographical Note:

Papelitos (little bits of paper), whether rent receipts, paid bills, or piles of personal letters, can become layered bundles of personal history. I have always been a pepenador (a scavenger) and saver of paper scraps. Diary notes, scribbled annotations, and first drafts are often useful indicators of ideas and gestation. Papelitos are the fragments of every-day life that gain expanded meaning integrated into the larger historical events of a period.

In the decade of the 1960s, I started saving ephemeral material--exhibition announcements, clippings of individual artists and of organizations fomenting a Chicano art movement. The social scenarios of the period such as marches, strikes, sit-ins, and mobilizations for social justice all spawned manifestos, posters, leaflets, and other forms of printed material. I somehow managed to assemble and protect the evanescent printed information that recorded the birth and development of Chicano art.

As I started to research and write about Chicano art and artists of the period, I continued to clip, photocopy, and preserve material given me by Mexican-American artists from throughout the nation. My idea was to form an archive that would be comprehensive rather than selective. I knew that it was the offbeat, singular piece of paper with a missing link of information that would attract the scholar.

Today, several decades after the flowering of Chicano art, there is still a lamentable paucity of research and information about this significant component of American art.

It is my fervent hope that this compendium of information will function as a resonant print and image bank for investigators of Chicano culture. Perhaps contained within the archive are the facts that will inspire new visions or revisions of Chicano art and culture--this is my fondest dream.

Dr. Tomás Ybarra-Frausto

New York City, 1998

Related Materials:

Tomás Ybarra-Frausto Papers are located at University of Texas Libraries, The University of Texas at Austin.

Provenance:

The collection was donated to the Archives of American Art by Tomás Ybarra-Frausto in 1997, and in 2004.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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.

Topic:

Santos (Art)  Search this

Household shrines -- Mexico  Search this

Chicano art  Search this

Chicano artists  Search this

Mexican American art  Search this

Mexican American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Photographs

Slides (photographs)

Interviews

Citation:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ybartoma

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e4916919-f4aa-4cd9-bf03-0335539ae06d

EDAN-URL:

ead_collection:sova-aaa-ybartoma

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Extent:

(6 folders; see also: CARA; Garcia, Rupert; Gronk; Box 30; OV 32)

Container:

Box 15, Folder 32-37

Type:

Archival materials

Scope and Contents note:

(exhibition announcements; exhibition brochures; catalogs; resume; sales receipt; book by Lomas Garza, Papel Picado: Paper Cutout Techniques, Xicanindio Arts Coalition, Mesa, Arizona, 1984; TYF's notes on Lomas Garza; clippings; oversize materials; slides; note to TYF from Lomas Garza, undated; note to TYF and Dudley, from Lomas Garza, undated; typescript of essay on Lomas Garza by TYF, from the catalog, Carmen Lomas Garza: Lo Real Maravilloso: the Marvelous/The Real, The Mexican Museum, San Francisco, 1988; catalog, Mano a Mano: Abstraction/Figuration: 16 Mexican-American & Latin-American Painters from the San Francisco Bay Area, The Art Museum of Santa Cruz County and University of California Santa Cruz, 1988; Festival Internaxional de la Raza, "Los Artistas Chicanos del Valle de Tejas: Narradores de Mitos Y Tradiciones," 1991; Handwritten transcript of interview with Lomas Garza by TYF; polaroid photographs of Lomas Garza; memo to Dudley and TYF from Vincente M. Martinez, Acting Chief Curator Millicent Rogers Museum, 04/03/1995, re. invitations to exhibition opening and loan of piece)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92227dc1a-8e69-4967-a093-cff997cfa58a

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1011

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Extent:

(18 folders; 2 folders for 1983; see also: Acosta-Colñn, Marie; Arreguín, Alfredo; Gronk; INTAR; Lomas-Garza, Carmen; Montoya, José; Valdez, Patssi; Box 30)

Container:

Box 18, Folder 1-18

Type:

Archival materials

Scope and Contents note:

(see above, and: letter to TYF from Gloria Jaramillo, Curator of Collections, 04/27/1983, re. TYF's purchase of a ceramic by Richard and Graciela [Rios] and sales receipt; photocopy of letter to "Compañeros", from TYF, 09/30/1983; photocopy of letter to Mariano and Linda, from TYF, 09/30/1983; TYF's notes on issues concering the museum's Board of Directors; "Annotated Bibliography of Mexican Folk Art" by Beverly Herzog and Dr. Joyce Bishop, 1985; letter to TYF from the museum, re. a lecture TYF would give for the "From Inside Out..." exhibition; administrative planning documents for "From Inside Out..." and "Lo Del Corazó", including artists' applications and booklet of artists' statements for "Lo Del Corazó"; "Bibliography for the Exhibit 'Folk Art of Michcacan'" by Susan Warren-Kunkler; "Assessment of the Mexican Museum, Museum Assessment Program, American Association of Museums"; "Communal Land Paintings From Central Mexico: An Overview" by Marion Oettinger, Jr., Curator of Folk Art and Latin American Art, San Antonio Museum Association; "But Is It Folk? Defining the Field" by Joyce M. Bishop, presented at "From the Inside Out..."; typescript of essay by Jim Griffith, no title; "Notes Toward An Interpretive History of California-Mexican Music" by Manuel Peña; "From the Inside Out..." symposium program; postcard to TYF from Aurelio and Cecilia Barrera, 10/27/1987; letter to TYF from David de la Torre, Director, The Mexican Museum, 02/08/1988, re. dinner to honor TYF; bound volume, From the Inside Out... Proceedings from the conference, ed. Karana Hattersley-Drayton, Joyce Bishop, TYF, 1989; NEH grant application materials; Christmas card to TYF from Marie Acosta-Colón; slides; letter to José Montoya, from Peter Rodriguez, 11/30/1990, (cc: TYF; photocopy; grant proposals; "The Mexican Museum Long Range Work Plan," CAC Multicultural Advancement Program, circa 1993; photocopy of letter to TYF from Jonathan [Yorba], 06/05/1996; note to Jonathan [Yorba] from TYF, 06/17/1996; artist biographies by TYF, undated: Daniel Salazar and José Alfredo Mendoza Arreguín; newsletter: vol. 7 Spring 1982; vol. 8 (Summer 1983); Winter and Spring 1988; Spring/Summer 1990; Fall/Winter 1990; Fall 1991; Winter/Spring 1992; Spring/Summer 1992; Fall 1992; Winter/Spring 1993; Fall 1993; Winter 1997; Fall 1998; Spring - Fall 1999; Winter 2000 - Summer 2001)

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files / Mexican Museum, continued

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97143f55f-1e6f-4f09-81d9-52696356e09e

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1112

Collection Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Extent:

(see also: Box 30)

Container:

Box 22, Folder 42

Type:

Archival materials

Date:

1981-1988

Scope and Contents note:

(clippings; oversize exhibition poster; exhibition announcements; TYF's notes on "Photography - Latin America")

Collection Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

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:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Tomás Ybarra-Frausto research material on Chicano art / Series 1: Subject Files / Photography

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw916d31759-4e01-4893-aeee-de53e1fbe0b1

EDAN-URL:

ead_component:sova-aaa-ybartoma-ref1356