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Black Mosaic of Wash DC: unpacking multiple “Black” identities

Creator:
Anacostia Community Museums Collections and Research  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2015-11-19T15:23:45.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
Anacostia_Community_Museums
Data Source:
Anacostia Community Museums Collections and Research
YouTube Channel:
Anacostia_Community_Museums
EDAN-URL:
edanmdm:yt_aMCx6T_Fxos

Inka Road Symposium 06 - Tawantinsuyu: Andean Empire

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2015-07-15T18:45:36.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_klJXUH03SS8

Taíno Symposium – Welcome by Eduardo Díaz

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2019-06-04T20:30:42.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_hrnDQwE1RY4

Emilio Sanchez papers

Creator:
Sanchez, Emilio, 1921-1999  Search this
Extent:
18.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Interviews
Sketchbooks
Date:
1922-2012
Summary:
The collection measures 18.1 linear feet, dates from 1922 to 2012, and documents the career of Cuban born painter and printmaker, Emilio Sanchez. The collection includes letters to Sanchez, business records, photographs of the artist and sources for his artwork, many original sketches, printed material, and calendars.
Scope and Content Note:
The papers of Cuban born painter and print maker Emilio Sanchez comprise 18.1 linear feet of material dating from 1922 to 2012. The papers contain biographical information about Sanchez; letters from galleries and museums recording business transactions; letters from friends; photographs of his artwork and places he visited for inspiration; personal photographs; sketches; exhibition catalogs, announcements, and reviews; clippings; and calendars.

A major portion of the collection consists of sketchbooks and sketches that provide rich documentation of Sanchez's artistic development and his working methods, particularly from the 1950s to the 1970s. Many of the sketches have detailed notations about aspects of an image that Sanchez wanted to recall and capture in his work. Photographs also provide insight into the architecture and landscapes that provided sources of inspiration for Sanchez.

A 10.1 linear foot addition contains biographical materials, correspondence, writings, photographs, works of art, subject files, printed materials, and scrapbooks. Biographical materials include address books, birth certificates, naturalization documents, and family-related documents. Correspondence is personal and professional and is with family, friends and museums. Writings are personal and include a log book and a typed transcription (possibly incomplete). Photographs are of Sanchez, his family, works of art, and source subjects for works of art, as well as CD-Roms of works of art. Some photographs assembled by Hugh Harrison, long-time friend of the Sanchez. Works of art include 10 sketchbooks and loose sketches. Also included are a drawing and 4 prints by Estrella Fonts, Sanchez's mother. Subject files include a print register, appraisals, mailing lists, and consignments. Printed material includes exhibition announcements and clippings. Also included are 3 scrapbooks, 2000-2012, that chronicle the history of the Emilio Sanchez Foundation's activities, including press releases, photographs, and exhibition-related material and hard drives of the foundation's databases in Filemaker format.
Arrangement:
The collection is arranged as seven series. Records are generally arranged by subject category, and then chronologically.

Series 1: Biographical Material, 1969-1977, undated (box 1; 4 folders)

Series 2: Letters and Business Records, 1956-1979 (box 1; 25 folders)

Series 3: Photographs, 1922-1979, undated (boxes 1-3; 51 folders)

Series 4: Printed Material, 1950-1980, undated (boxes 3-4; 17 folders)

Series 5: Calendars, 1967-1976 (boxes 4-5; 7 folders)

Series 6: Sketches, circa 1940-1979, undated (boxes 5-6, sols 7-11, OV's 12-22, RD 23-24; 2.9 linear ft.)

Series 7: Unprocessed Addition to the Emilio Sanchez Papers, 1949-2012 (boxes 25-34, OV 35; 10.1 linear ft.)
Biographical Note:
Emilio Sanchez was born in 1921 in Camaguey, Cuba. He left his native country in 1952 to settle in New York where he became a naturalized citizen of the United States. A prolific painter and printmaker, Sanchez received his formal education at the Art Students' League and Columbia University during the late 1930s, and had his first of many one-man shows in New York in 1949. Sanchez traveled throughout the world sketching his impressions of houses and other buildings and capturing the details of doorways, windows, light, and shadow in his paintings and prints. His paintings of residential architecture in Cuba and throughout the Caribbean are some of his best known works, but in the 1980s he turned much of his attention to the skyline of his adopted home, and was often drawn also to American cities and landscapes over the course of his career.

Sanchez's work is represented in major museums and private collections the world over, including the Metropolitan Museum of Art, the Museum of Modern Art, the Hirshhorn Museum, the National Museum in Havana, and the Cintas Collection. He completed numerous commissions in both the United States and Mexico, has illustrated several books, including Arte del Peru Colonial by Felipe Cossío del Pomar (published in 1958 by the Fondo de Cultura Económica in Mexico), and has exhibited extensively in solo and group exhibitions in locations such as Mexico City, Paris, Havana, Madrid, Puerto Rico, Chile, Colombia, and throughout the United States.

Sanchez died in July, 1999 at the age of 78.
Related Material:
Papers of Emilio Sanchez can also be found at the Dade County Public Library in Florida.
Provenance:
The collection was donated to the Archives of American Art by Emilio Sanchez in a series of gifts between 1975 and 1980, and in 2012 by Emilio Sanchez via Erik J. Stapper, Emilio Sanchez Foundation.
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.
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Latino and Latin American artists  Search this
Genre/Form:
Photographs
Sketches
Interviews
Sketchbooks
Citation:
Emilio Sanchez papers, 1922-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sancemil
See more items in:
Emilio Sanchez papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sancemil

Enrique Riverón papers

Creator:
Riverón, Enrique  Search this
Names:
Wichita State University -- Faculty  Search this
Baker, Josephine, 1906-1975  Search this
Bermúdez, Cundo, 1914-  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 -- Photographs  Search this
Tamayo, Rufino, 1899- -- Photographs  Search this
Waguermert, Luis Gomez -- Photographs  Search this
Yunkers, Adja, 1900-  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.

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:
Cartoonists  Search this
Topic:
Artists -- Florida -- Miami  Search this
Illustrators  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
EDAN-URL:
ead_collection:sova-aaa-riveenri

Scrapbooks

Collection Creator:
Riverón, Enrique  Search this
Extent:
0.7 Linear feet (Boxes 1, 3, 4)
Type:
Archival materials
Date:
1920s-1990s, undated
Scope and Contents note:
Scrapbooks found in this series contain clippings, printed cartoons and illustrations, photographs, and reviews of exhibitions from the United States and Latin American newspapers.
Collection Restrictions:
The collection is open for research. Use requires an appointment.
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:
Enrique Riverón papers, 1918-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.riveenri, Series 4
See more items in:
Enrique Riverón papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-riveenri-ref118

Naúl Ojeda papers

Creator:
Ojeda, Naúl, 1939-2002  Search this
Names:
Bader, Franz, 1903-1994  Search this
Berrutti, Azucena  Search this
Caicedo Garzón, Armando  Search this
Haber, Alicia  Search this
Vila, Ernesto  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Scrapbooks
Sketchbooks
Video recordings
Date:
circa 1960-2004
circa 2013
Summary:
The papers of Uruguayan born Washington, D.C. painter and printmaker Naúl Ojeda measure 5.9 linear feet and date from circa 1960-2004, and circa 2013. The papers document Ojeda's personal and professional life through biographical materials, correspondence, exhibition and gallery files, professional files, financial material, printed and broadcast materials, scrapbooks, artwork and sketchbooks, and a small amount of photographic material.
Scope and Contents:
The papers of Uruguayan born Washington, D.C. painter and printmaker Naúl Ojeda measure 5.9 linear feet and date from circa 1960-2004, and circa 2013. The papers document Ojeda's personal and professional life through biographical materials, correspondence, exhibition and gallery files, professional files, financial material, printed and broadcast materials, scrapbooks, artwork and sketchbooks, and a small amount of photographic material.

Biographical material includes immigration records, resumes, and a few certifications and credentials. Correspondence is personal and professional, with correspondents including Ojeda's family, and friends, and some general professional correspondents, including Alicia Haber, Moira Bowers, Ernesto Vila, Eduardo Galeano, Enrique Gomez, Armando Caicedo Garzón, Walter Jesus Gonzalez, Azucena Berrutti, and others.

Exhibition and gallery files document Ojeda's relationship with galleries, museums, and civic and cultural organizations, and include records of specific exhibitions as well as general documentation related to sales and commissions of his artwork. They include records of the exhibition In Honor of Franz Bader (1995), with a related video recording. Professional files document other activities including Ojeda's involvement with community organizations, art contests that he entered, work he was commissioned to do for businesses and organizations, and permissions for use of his work for a variety of publications, events, and media outlets. Financial records include a small but detailed number of records of sales with sales books, price lists and receipts.

Printed and broadcast materials provide a fairly comprehensive overview of Ojeda's career from the 1960s on, with announcements and catalogs for multiple exhibitions, news clippings from foreign and domestic newspapers, and posters, flyers, and other publications with illustrations by Ojeda. Three broadcast video recordings about his work and exhibitions can also be found here. This material is supplemented by two scrapbooks documenting Ojeda's exhibitions and news items about his career, from the 1960s to early 1980s.

The collection contains a substantial amount of artwork, including drawings, sketches, poster mockups, prints including woodcut proofs, and sixteen sketchbooks for various projects.

A small amount of photographic material includes three photos of a 1968 exhibition in Uruguay, photocopies of photos of a family group, and negatives including images of Ojeda in the studio.
Arrangement:
The bulk of Ojeda's papers initially combined Ojeda's records of his professional activities, including records of exhibitions and gallery transactions, and financial records in a single alphabetical file. To facilitate access this arrangement has been refined further into three smaller series (Series 3-5).

Series 1: Biographical Materials, 1963-1997 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1960s-2002 (Box 1, OV 9; 0.8 linear feet)

Series 3: Exhibition and Gallery Files, 1966-2004 (Boxes 1-2, 6; 0.9 linear feet)

Series 4: Professional Files, 1979-2002 (Boxes 2-3, 6; 0.65 linear feet)

Series 5: Financial Records, circa 1970-2004, circa 2013 (Box 3; 0.25 linear feet)

Series 6: Printed and Broadcast Materials, 1962-2003 (Boxes 3-4, 6-7, OV 10; 1.1 linear feet)

Series 7: Scrapbooks, 1961-1981 (Box 7; 0.2 linear feet)

Series 8: Artwork, circa 1960-circa 2000 (Boxes 4, 8, OVs 9, 11-14; 1.0 linear feet)

Series 9: Sketchbooks, circa 1967-2001 (Boxes 4-5, 8; 0.5 linear feet)

Series 10: Photographic Material, 1968-circa 2000 (Box 5; 0.3 linear feet)
Biographical / Historical:
Naúl Ojeda (1939-2002) was a painter and printmaker in Washington, D.C.

Ojeda was born in Uruguay and studied fine arts at the University of Uruguay. The political climate of Uruguay in the 1970s led Ojeda to leave the country. He traveled to France, Chile, and Mexico before settling in Washington, D.C. While in Chile, Ojeda covered the presidency of Salvador Allende as a photojournalist. He selected fifty of the photographs of that period for his exhibition Homage to the People of Chile at the Galeria Inti Centro de Arte in Washington, D.C.

Ojeda was best known for his woodblock prints and linocuts, which he printed by hand in small editions, usually of no more than twenty-five prints. He also had some success with decorated furniture, both pieces he designed and painted, and pieces he decorated. Although his images appear whimsical, they often express themes of separation from his homeland and family. His work has been shown in numerous exhibitions throughout the United States as well as in Europe and South America including Immigrant Artists/American Experience (1985-1987) and an exhibition in 1995 honoring Franz Bader, the owner of the Franz Bader Gallery in Washington, D.C. Bader and Ojeda bonded over their shared immigrant experiences. Bader represented Ojeda for nearly 20 years and frequently held exhibitions of Ojeda's work at his gallery.

Ojeda's work is represented in private collections as well as the collections of the Smithsonian American Art Museum and the Art Museum of the Americas, in Washington, D.C., the Museum of Modern Art in New York, and the National Hispanic Cultural Center in Albuquerque, New Mexico. Ojeda also produced illustrations for The Washington Post Book World, Washington Review, Curbstone Press, and the Institute for Policy Studies among others.

During his career Ojeda received several awards, including the 2001 Distinguished Immigrant Award from the American Immigration Law Foundation. He was also the recipient of several grants from the D.C. Commission of the Arts and Humanities, including grants to illustrate the poems of Pablo Neruda and Federico Garcia Lorca.

Ojeda died in 2002 in Washington, D.C.
Provenance:
The Naúl Ojeda papers were donated in 2016 by Philomena "Pennie" Ojeda.
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.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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 -- Washington (D.C.)  Search this
Printmakers -- Washington (D.C.)  Search this
Topic:
Latino and Latin American artists  Search this
Genre/Form:
Drawings
Scrapbooks
Sketchbooks
Video recordings
Citation:
Naúl Ojeda papers, circa 1960-2004, circa 2013. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ojednaul
See more items in:
Naúl Ojeda papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ojednaul
Online Media:

Oral history interview with Tom Wudl

Interviewee:
Wudl, Tom, 1948-  Search this
Interviewer:
Leddy, Annette  Search this
Extent:
14 Items (sound files (4 hrs., 19 min.) Audio, digital, wav)
78 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2019 November 22-24
Scope and Contents:
An interview with Tom Wudl conducted 2019 November 22-24, by Annette Leddy, for the Archives of American Art, at Wudl's studio in Los Angeles, California.
Biographical / Historical:
Interviewee Tom Wudl (1948- ) is a painter in Los Angeles, Calif. Interviewer Annette Leddy is a writer in New York, N.Y.
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:
The transcript and audio recording are open for research. Contact Reference Services for more information.
Occupation:
Painters -- California -- Los Angeles  Search this
Topic:
Latino and Latin American artists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wudl19
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wudl19
Online Media:

Selena, Portrait in a Minute

Creator:
National Portrait Gallery  Search this
Type:
Video recordings
Podcast
MIME Type:
video/m4v
Uploaded:
Tue, 06 Jan 2015 10:00:00 EST
Topic:
Portraits  Search this
See more episodes:
Face-to-Face, from the National Portrait Gallery
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:podcasts_ba854d86d46379a3ac753271d4f156ae

“Bittersweet Harvest� exhibit reveals how the bracero program changed America

Creator:
Smithsonian Insider  Search this
Type:
Blog posts
Smithsonian staff publications
Blog posts
Published Date:
Mon, 11 Sep 2017 17:10:05 +0000
Topic:
Science  Search this
See more posts:
Smithsonian Insider
Data Source:
Smithsonian Insider
EDAN-URL:
edanmdm:posts_641752672fd01ae37a4a849db488ad50

La Playa Negra I (Tar Beach I)

Artist:
Antonio Martorell, Born Santurce, Puerto Rico 1939  Search this
Medium:
woodcut on Japanese paper
Dimensions:
sheet and image: 59 x 47 in. (149.9 x 119.4 cm)
Type:
Graphic Arts-Print
Date:
2010
Topic:
Cityscape\New York\New York  Search this
Architecture\bridge  Search this
Figure group\female  Search this
Ethnic\Puerto Rican  Search this
Object\other\sewing tool  Search this
Ethnic\Latino  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment
Copyright:
© 2010, Antonio Martorell
Object number:
2012.59.1
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7ef372ff5-45a0-4df8-959b-9307cadd5af7
EDAN-URL:
edanmdm:saam_2012.59.1

La Playa Negra II (Tar Beach II)

Artist:
Antonio Martorell, Born Santurce, Puerto Rico 1939  Search this
Medium:
woodcut on Japanese paper
Dimensions:
sheet and image: 59 x 47 in. (149.9 x 119.4 cm)
Type:
Graphic Arts-Print
Date:
2010
Topic:
Cityscape\New York\Brooklyn  Search this
Figure group\male  Search this
Ethnic\Puerto Rican  Search this
Ethnic\Latino  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment
Copyright:
© 2010, Antonio Martorell
Object number:
2012.59.2
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk79535bf60-0c1f-4c17-9b24-ceb8c34da0fd
EDAN-URL:
edanmdm:saam_2012.59.2

Hermanos de La Morada, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Medium:
gelatin silver print
Dimensions:
image: 12 1/2 × 18 5/8 in. (31.8 × 47.3 cm) sheet: 16 × 20 in. (40.6 × 50.8 cm)
Type:
Photography
Date:
1992
Topic:
Figure group\male  Search this
Landscape\New Mexico  Search this
Architecture Exterior  Search this
Ethnic\Latino  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1992, Miguel Gandert
Object number:
2016.20.1
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk75811d515-0ac6-4f92-a4b7-69e82ac4b2d3
EDAN-URL:
edanmdm:saam_2016.20.1

Danza del Aguila, Talpa, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Medium:
gelatin silver print
Dimensions:
image: 17 3/4 × 12 in. (45.1 × 30.5 cm) sheet: 20 × 16 in. (50.8 × 40.6 cm)
Type:
Photography
Date:
1998
Topic:
Figure group  Search this
Dress\ceremonial  Search this
Ceremony\dance  Search this
Landscape\New Mexico\Talpa  Search this
Ethnic\Latino  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1998, Miguel Gandert
Object number:
2016.20.10
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk73c6e3266-3ab8-43c8-82cc-a46815436d70
EDAN-URL:
edanmdm:saam_2016.20.10

Trompetas y Clarines, Tome, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Medium:
gelatin silver print
Dimensions:
image: 12 1/2 × 18 3/4 in. (31.8 × 47.6 cm) sheet: 16 × 20 in. (40.6 × 50.8 cm)
Type:
Photography
Date:
1992
Topic:
Figure group\male  Search this
Performing arts\music\trumpet  Search this
Object\musical instrument\trumpet  Search this
Ethnic\Latino  Search this
Landscape\New Mexico\Tome  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1992, Miguel Gandert
Object number:
2016.20.2
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk77a9e563b-e04d-4340-9762-4718a5064db2
EDAN-URL:
edanmdm:saam_2016.20.2

Soldado de La Santa Cruz, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Medium:
gelatin silver print
Dimensions:
image: 17 3/4 × 12 in. (45.1 × 30.5 cm) sheet: 20 × 16 in. (50.8 × 40.6 cm)
Type:
Photography
Date:
1993
Topic:
Animal\horse  Search this
Figure male\full length  Search this
Dress\ecclesiastical  Search this
Ceremony\religion\procession  Search this
Emblem\cross  Search this
Ethnic\Latino  Search this
Landscape\New Mexico\Santa Cruz  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1993, Miguel Gandert
Object number:
2016.20.3
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk73a4a31c2-5a2a-4246-81ef-d4d061c7b21b
EDAN-URL:
edanmdm:saam_2016.20.3

Orgullo de Cuerno Verde, Alcalde, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Medium:
gelatin silver print
Dimensions:
image: 12 1/2 × 18 7/8 in. (31.8 × 47.9 cm) sheet: 16 × 20 in. (40.6 × 50.8 cm)
Type:
Photography
Date:
1994
Topic:
Figure male\waist length  Search this
Architecture Exterior\commercial  Search this
Ethnic\Latino  Search this
Landscape\New Mexico\Alcalde  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1994, Miguel Gandert
Object number:
2016.20.4
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk70950444f-753b-4cb4-9707-07e25a6f2a25
EDAN-URL:
edanmdm:saam_2016.20.4

David Gonzales, Talpa, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Sitter:
David Gonzales  Search this
Medium:
gelatin silver print
Dimensions:
image: 16 × 12 in. (40.6 × 30.5 cm) sheet: 19 3/4 × 16 in. (50.2 × 40.6 cm)
Type:
Photography
Date:
1995
Topic:
Dress\accessory\hat  Search this
Dress\ceremonial  Search this
Landscape\New Mexico\Talpa  Search this
Ethnic\Latino  Search this
Portrait male\bust  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1995, Miguel Gandert
Object number:
2016.20.5
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7ca01540a-8770-4f7b-8d8c-32a3da184a99
EDAN-URL:
edanmdm:saam_2016.20.5

Linda Elena, Talpa, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Sitter:
Linda Elena  Search this
Medium:
gelatin silver print
Dimensions:
image: 15 3/4 × 12 in. (40.0 × 30.5 cm) sheet: 20 × 16 in. (50.8 × 40.6 cm)
Type:
Photography
Date:
1995
Topic:
Dress\accessory\hat  Search this
Dress\ceremonial  Search this
Dress\accessory\fur  Search this
Landscape\New Mexico\Talpa  Search this
Ethnic\Latino  Search this
Portrait female\bust  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1995, Miguel Gandert
Object number:
2016.20.6
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk71a89c47e-8eda-475d-8f46-fb6e12650271
EDAN-URL:
edanmdm:saam_2016.20.6

Los Cautivos, Talpa, NM

Artist:
Miguel A. Gandert, born Española, NM 1956  Search this
Medium:
gelatin silver print
Dimensions:
image: 11 5/8 × 17 3/4 in. (29.5 × 45.1 cm) sheet: 16 × 19 3/4 in. (40.6 × 50.2 cm)
Type:
Photography
Date:
1995
Topic:
Figure group\male  Search this
Dress\ceremonial  Search this
Ceremony\dance  Search this
Landscape\New Mexico\Talpa  Search this
Ethnic\Latino  Search this
Credit Line:
Smithsonian American Art Museum, Museum purchase through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center
Copyright:
© 1995, Miguel Gandert
Object number:
2016.20.7
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk748498b76-3fbc-4d57-ac49-fd94e75847cf
EDAN-URL:
edanmdm:saam_2016.20.7

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