United States of America -- Arizona -- Maricopa -- Paradise Valley
Scope and Contents:
The folder includes worksheets and tour booklet of the garden.
General:
Located on a little over one acre, the Papp Garden reflects the owners' longtime interest in desert plants and garden art. In 1991, when the owners purchased the property they took quick steps to design this garden. To create a feeling lushness, they planted many trees on the property including two large Chilean mesquite trees in front of the house to frame the entrance and Palo Verde trees and acacia trees lining the drive The backyard garden has evolved over time to suit the needs of the owners growing family. Originally the backyard had ample grass for volleyball and gymnastic activities of their children. Over time, the grassy areas were eliminated and replaced by trees and shrubs. Other garden features include a swimming pool and outdoor dining area. A large desert wash that runs to the west of the property is lined with large river rock. The owners are enthusiastic about garden art and have several sculptures in the garden, including a work designed by Michael Anderson specifically for the garden, contemporary works by Ed Mell, Su Douglas, and LeRoy Neiman and others.
Plantings include specimens of Argentine saguaro and Palo adan (a species of ocotillo) in the front garden. Salvia (clevelandia, greggii, and leugantha) provide spring color in the back garden, and Queen of the Night stems bloom profusely on summer evenings. Plantings of bougainvilleas provide color alongside plantings of aloes, sage, and yellow bells.
The owners' of this garden have a long association with the Desert Botanical Garden and Phoenix Art Museum. In 2014, the garden was featured on a tour of private gardens for benefactors of the Desert Botanical Garden.
Persons associated with the garden include: Cesar Mazier Landscaping (landscape designer, 1999- ); Michael Anderson (sculptor,1999); Joe Tyler (metal flower sculpture, 1998); Billingsley (urban garden, 2013).
Related Materials:
Papp Garden related holdings consist of 1 folder (20 digital images)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
Audiotapes, CDs and digital files: an ongoing project to interview and preserve the memories of people important in the jazz world, including jazz musicians, singers, dancers, producers, arrangers, and others. A list of interviewees and interviewers follows.
The following is a list of the individuals who conducted the interviews.
1. Brown, Anthony
2. Baker, Lida
3. Burstein, Julie
Interviewer
2. Bluiett, Hamiet
Arrangement:
This collection is arranged into six series.
Series 1, DAT and CD Original Interview Recordings, 1992-2012
Series 2, Cassette Reference and Master Interview Tapes, 1992-2012
Series 3, Audio CD Reference Copies, 2000-2012
Series 4, Video/CD, 1994-2012
Series 5, Transcripts and Abstracts, 1992-2014
Series 6, Supplemental Documentation, 1992-2012
Biographical / Historical:
The Smithsonian Jazz Oral History Program, a project of "America's Jazz Heritage, A Partnership of the Lila Wallace-Reader's Digest Fund and the Smithsonian Institution" initiative was created in 1992. More than 150 in-depth oral history interviews were conducted from 1992 through 2002. The collection was transferred to the Archives Center of the National Museum of American History in 2000. Now part of the National Museum of American History's American Music History Initiatives, the Smithsonian Jazz Oral History Program continues to conduct interviews as funding is available.
The Smithsonian Jazz Oral History Program was established to document significant jazz musicians, performers, producers, and business associates in their own words and voices. Program staff contacted and worked with potential interviewees to arrange for interviews. Each interview was conducted by a jazz authority and was recorded on digital audiotape by a professional audio engineer. The interviews averaged 6 hours in length and covered a wide range of topics including early years, initial involvement in music, generally, and jazz specifically, as well as experiences in the jazz music world, including relationships to musicians. The original DAT interview tapes were then dubbed to audiocassettes and CD to create protection and access copies. More recent interviews have been recorded using fully digital technology and the interviews are preserved and made availbel as digital files.
A number of the interviews were conducted as part of the Ella Fitzgerald Oral History Project of the Jazz Oral History Program. Funded by the Ella Fitzgerald Charitable Foundation, these interviews focus on the life and work of Ella Fitzgerald. The National Endowments for the Arts Jazz Masters Oral Histories Program continues to support new interviews with NEA Jazz Masters.
For more information about jazz concerts, education, collections, Jazz Appreciation Month, and the Jazz Master orchestra, visit Smithsonian Jazz.
Provenance:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
Restrictions:
Collection is open for research. Researchers must use reference copies.
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. Release forms exist for most interviews.
[Interviewee name] Interview, Smithsonian Jazz Oral History Program Collection, 1992-2014, Archives Center, National Museum of American History.
Sponsor:
The interviews were made for the Smithsonian Institution under the auspices of the Smithsonian Jazz Oral History Program and supported by America's Jazz Heritage, funded by the Lila Wallace-Reader's Digest Fund, the Smithsonian Institution, and the National Endowment for the Arts Jazz Masters Oral Histories Program. Additional interviews were conducted with support from the Ella Fitzgerald Charitable Foundation.
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:
Robert Dennis Reid papers, 1961-1977. Archives of American Art, Smithsonian Institution.
Los Angeles Institute of Contemporary Art Search this
Extent:
(Boxes 3-13; 9.5 linear feet)
Type:
Archival materials
Date:
1974-1987
Scope and Contents note:
Found within this series are the records documenting LAICA's exhibition and public programming. Exhibition Committee Files and Exhibition Files provide comprehensive documentation of LAICA's exhibition history, including exhibitions curated by LAICA staff and notable guest curators Walter Hopps, Llyn Foulks, and Mike Kelley. Focusing on broad and varied contemporary visual arts, the exhibitions included established and emerging artists of the Los Angeles area, the West Coast, Europe, and Asia. Contemporary Italian and Japanese artists were widely exhibited. Contemporary social and environmental issues were also covered in exhibitions, such as The James Bay Project, which documented the impact of hydroelectric stations in northwestern Quebec.
Extensive files are found for several significant LAICA exhibitions, such as Nine Senior California Painters, 1974-1975, which featured the work of Florence Arnold, Nick Brigante, Hans Burkhardt, Annita Delano, Lorser Feitelson, Peter Krasnow, Helen Lundeberg, John McLaughlin, and Emerson Woelffer, an exhibition of Leroy Neiman and Andy Warhol, 1981-1982, Cabin, Temple, Trailer curated by Charles Moore in 1983, Il Modo Italiano, 1984 that featured the work of 10 contemporary Italian artists, and Australia: Nine Contemporary Artists, 1984. The organization provided opportunities for emerging artists as well, including a "painting of the month" exhibition series.
Program Files document LAICA's public programming, including lecture series, workshops, and conferences. This series contains files for innovative fundraising events, such as fashion shows, film screenings, and "LAICA Sells Out", an innovative program that invited donors and artists to purchase portions of LAICA's exhibition space to display their artwork. Extensive documentation of LAICA's Artist Registry of Southern California artists and the CETA-funded Artist-in-Residence program is found here as well.
Also found in this series are LAICA's Artist Files, comprised of printed materials, photographs, and resumes of artists, as well as scattered correspondence.
Arrangement note:
The Exhibition and Programs series is arranged into 4 subseries:
5.1: Exhibition Committee Files, mid 1970s-1987
5.2: Exhibition Files, 1974-1987
5.3: Program Files, 1975-1986
5.4: Artist Files, circa 1980s
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.
Los Angeles Institute of Contemporary Art Search this
Container:
Box 6, Folder 83
Type:
Archival materials
Date:
November 1981-January 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.
Los Angeles Institute of Contemporary Art Search this
Container:
Box 6, Folder 84
Type:
Archival materials
Date:
November 1981-January 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.
Los Angeles Institute of Contemporary Art Search this
Container:
Box 6, Folder 85
Type:
Archival materials
Date:
November 1981-January 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.
Los Angeles Institute of Contemporary Art Search this
Container:
Box 6, Folder 82
Type:
Archival materials
Date:
November 1981-January 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.
Printed material includes clippings about Kuh, clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs for miscellaneous artists, calendars of events, programs, brochures for art schools, brochures for seminars and lectures, and brochures for the purchase of books and artwork including one for lithographs by Robert Rauschenberg. There are also miscellaneous booklets, books including Poems by Kuh as a child, and reproductions of artwork. Some of the exhibition catalogs are from the Katharine Kuh Gallery, others contain essays written by Kuh, and they represent artists including Jean Arp, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, LeRoy Neiman, and Pablo Picasso.
Collection Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
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:
Katharine Kuh papers, 1875-1994, bulk 1930-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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:
Fidel Danieli papers, 1962-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources Hidden Collections grant program.
Biographical material (1931-1982), correspondence (1920-1983), business records (1958-1973), subject files concerning the WPA's Federal Art Project (1934-1976) and printed material (1918-1981) reflect the activities and careers of Clement Haupers and Clara Mairs.
Biographical material concerning Clement Haupers consists of 2 portrait drawings, an autobiographical account, a biographical account written by Les Grunwald, 6 clippings (1974-1982), an essay "Clement Haupers: Art Appreciation, Arlington Library" by Romeo Gutsche, a transcript of an interview conducted by Peter Lewson, and a resume (1943). Biographical material for Clara Mairs includes 2 biographical accounts, 2 exhibition catalogs (undated and 1976), and a clipping of her obituary (1963).
Correspondence (1920-1983) consists of letters exchanged between Haupers, Mairs, their family members, and colleagues. Letters exchanged between Haupers and Mairs primarily concern the annual Minnesota State Fair exhibitions (1933-1936) and Haupers' involvement in the Federal Art Project in Washington, D.C. (1943). Other letters concern the couple's art-related activities and Haupers' teaching and art restoration work, and include magazine illustrations by Haupers and Mairs. Correspondents include artists Cameron Booth, Andre Boratko, Floyd E. Brewer, Alida Flexer, Frances Cranmer Greenman, Patsy Reed High, LeRoy Neiman, Alexander Oja, James E. Rea, and Erik Smith.
Business records (1958-1973), primarily Mairs' estate documents, include her will (1958), correspondence relating to her death, probate court documents and inheritance tax documents. Financial material consists of sales receipts for the sale of art work (1969-1973). Printed material consists of clippings (1918-1981) and exhibition catalogs (1929-1979).
A subject file on the St. Paul Arts and Crafts Center (1934-1935), which was supported by the State Emergency Relief Administration, contains a description of the Art Center, a list of classes, clippings, and photographs of classes and students' work. A second subject file on the Haupers' work for the Work Projects Administration's Federal Art Project (1937-1976) includes reports, an essay "Minnesota Artist" (1938), exhibition catalogs, brochures, and photographs.
Biographical / Historical:
Artists; St. Paul, Minn. Clement Bernard Haupers was born in St. Paul and was employed as a secretary by the Chicago, Milwaukee and St. Paul Railroad from 1917-1920. In 1918 he studied art and joined Clara Mairs' Art League of St. Paul. Clara Gardner Mairs was born in Hastings, Minn. and received art training at the Pennsylvania Academy of the Fine Arts. During the late 1920s, Haupers and Mairs traveled to Europe and studied in Paris and Northern Africa. In 1929, they returned to St. Paul and established studios. Between 1931-1943, Haupers was involved in many of the federal government's art programs, including teaching at the St. Paul Arts and Crafts Center. In 1935, he was appointed the Minnesota state director of the WPA-FAP. Haupers later returned to teaching and art restoration.
Provenance:
Microfilm purchased from the Minnesota Historical Society, 1988.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Division of Library and Archives, Minnesota Historical Society. Contact Reference Services for more information.
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.
