Indians of North America -- California Search this
Type:
Collection descriptions
Archival materials
Place:
North Dakota -- Archeology
South Dakota -- Archeology
Great Plains
Honduras -- Archeology
Labrador (N.L.)
Nebraska -- Archeology
Columbia River Valley
Date:
1902-1965
bulk 1927-1955
Summary:
William Duncan Strong's early interest was in zoology, but, while an undergraduate at the University of California, he was brought into anthropology under the influence of Alfred Louis Kroeber. He conducted archaeological and ethnological field research in several areas of the New World and was the first professionally trained archaeologist to focus on the Great Plains, where he applied the so-called direct historical method, working from known history in interpreting archaeological sites. Strong's papers include correspondence, field notes, diaries, newspaper clippings, teaching notes and student papers, manuscripts of his writings, writings by other authors, papers from the various organizations in which he served, maps, and a considerable number of photographs from his field work. The materials date from 1902 to 1965, with most of the materials being from 1927 to 1955.
Scope and Contents:
Strong's papers include correspondence, field notes, diaries, newspaper clippings, teaching notes and student papers, manuscripts of his writings, writings by other authors, papers from the various organizations in which he served, maps, and a considerable number of photographs from his field work. The materials date from 1902 to 1965, with most of the materials being from 1927 to 1955.
Strong's papers reflect his professional life, but there is little personal material. Except for the Rawson-MacMillan Labrador Expedition, there is little information from Strong's years at the Field Museum of Natural History in Chicago. Other than information on field work expenses, there is little light shed on Strong's personal financial situation. There is no personal correspondence with either of his wives and little correspondence with family members, except for his brother, Ronald. Some correspondence from the late 1930s to the early 1940s is not present and its whereabouts is not known. Of special interest is a collection of drawings by Naskapi Indian children collected while Strong was on the Labrador expedition in 1928. Strong collected obituaries, vitae, news articles, and writings on and by other anthropologists. He was an inveterate doodler, and his fascinating creations appear throughout the papers.
Strong also collected materials from other researchers, including Loren Eiseley's 1931 field notes from the Morrill Expedition, Maurice Kirby's 1932 notes on the Signal Butte excavations, notes and drawings from the 1936 Honduras expedition by Alfred V. Kidder II, and the field notebooks kept by Clifford Evans for the 1946 Virú Valley expedition in Peru. Contributed photographs from field expeditions are from A.T. Hill, Waldo Wedel, and John Champe.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
The collection is arranged in 12 series: (1) Miscellaneous personal papers, 1914-1963; (2) Correspondence, 1922-1965; (3) Materials relating to field work, 1921-1963; (4) Miscellaneous research notes, 1917-1960, most undated; (5) Maps and charts, 1902-1949; (6) Drawings by Naskapi Indians and Eskimos, 1910, 1928; (7) Manuscripts of writings, 1922-1962, undated; (8) Writings by other authors, 1902-1961; (9) Papers relating to organizations, 1926-1961; (10) Teaching materials and course work, 1909, 1928-1961; (11) Miscellany, 1902-1961, most undated; (12) Photographs, 1913-1950.
Biographical Note:
William Duncan Strong (1899-1962) was a major figure in American anthropology. His accomplishments were as a field worker in archaeology and ethnology, archaeological theorist, writer, and teacher. He was, furthermore, a leader in anthropological organizations. In 1954, his position in the field was recognized by the award of the Viking Fund Medal for his contributions to archaeology.
William Duncan Strong's early interest was in zoology, but, while an undergraduate at the University of California, he was brought into anthropology under the influence of Alfred Louis Kroeber. He conducted archaeological and ethnological field research in several areas of the New World, including Labrador, southern California, Honduras, and Peru. Strong was the first professionally trained archaeologist to focus on the Great Plains, and it was there that he applied the so-called direct historical method, working from known history in interpreting archaeological sites. His work in all these areas are represented by notebooks, diaries, specimen catalogues, maps, and photographs.
Strong spent the majority of his professional life affiliated with various universities and taught many anthropologists who became influential in their own right. His students included Loren Eiseley, Waldo R. Wedel, Joseph Jablow, Oscar Lewis, John Landgraf, Dorothy Keur, David Stout, Charles Wagley, Eleanor Leacock, John Champe, Albert C. Spaulding, Victor Barnouw, John M. Corbett, Walter Fairservis, and Richard B. Woodbury. Strong preserved the student papers by some of these anthropologists as well as their correspondence with him.
Strong influenced American anthropology by his service in professional societies. He served as president of the American Ethnological Society, the Institute of Andean Research, and the Society for American Archaeology. He was the director of the Ethnogeographic Board (his journal from his tenure as director is in the papers) and chairman of the Committee on Basic Needs of American Archaeology. In this latter capacity, Strong was involved in establishing a program to salvage archaeological sites before they were destroyed by public works. Strong served as the anthropological consultant to the Bureau of Indian Affairs during Franklin Roosevelt's administration and advised on new directions to be taken in Indian Service policy.
Strong died suddenly on January 29, 1962.
Chronology
1899 -- Born January 30 in Portland, Oregon
1917 April-1919 January -- In the United States Navy aboard the U.S.S. South Dakota on convoy duty in the Atlantic Ocean
1922 -- Collected faunal specimens in the Canadian Rockies, Skeena River district, for the University of California Museum of Vertebrate Zoology
1923 -- A.B., University of California Studied Max Uhle's Peruvian archaeological collection Collected faunal specimens, Columbia River, Washington
Winter, 1923-1924 -- Archaeological investigations in the southern San Joaquin Valley, California under the direction of Edwin Winslow Gifford
1924-1925 -- Expedition to study Shoshonean tribes (the Serrano, Cahuilla, Cupeño, and Luiseño) of Southern California (Riverside and San Diego counties) under Alfred Louis Kroeber Archaeological surveys and excavations of three months each in the middle Columbia River Valley in Oregon and Washington
1925 -- Archaeological expedition and collection of faunal specimens in the San Pedro Martir Mountains, Baja California under W. Egbert Schenk
1925-1926 -- Research Assistant, Department of Anthropology, University of California
1926 -- PhD, Anthropology, University of California
1926 July-1929 August -- Assistant Curator of North American Ethnology and Archaeology, Field Museum of Natural History, Chicago
1927 -- An Analysis of Southwestern Society (doctoral dissertation)
1927 June-1928 September -- Anthropologist on the Rawson-MacMillan September, 1928 Subarctic Expedition of the Field Museum Studied Naskapi and Eskimos in Labrador and on Baffin Island
1929 -- Married Jean Stevens
1929 August-1931 July -- Professor of Anthropology, University of Nebraska
1929 -- Published The Aboriginal Society of Southern California
1929-1931 -- Director, Archaeological Survey of Nebraska, University of Nebraska
1930 June 11-September 6 -- Excavated at Rock Bluff cemetery site
1931 -- Helped organize the First Plains Conference (held August 31-September 2)
1931-1932 -- Morrill Expedition, central and western Nebraska and North and South Dakota: ethnological investigations of Arikaras at Nishu, North Dakota; excavation at Signal Butte, Nebraska; and excavation at Leavenworth and Rygh village sites in South Dakota
1931 July-1937 August -- Senior Anthropologist, Bureau of American Ethnology, Smithsonian Institution
1932 -- Archaeological survey of northeastern Honduras along the Mosquito Coast and the Patuca River, archaeological work on the Bay Islands, and ethnological investigation of Sumu Indians
1933-1934 -- Two Civilian Works Administration archaeological expeditions (five months each) in California in southern San Joaquin Valley, Kern County, at Tulamniu (a Yokuts village) and eastern Chumash area
1934-1937 -- Trustee, Laboratory of Anthropology, Sante Fe
1935 -- Anthropological consultant to the Bureau of Indian Affairs Assistant editor, American Antiquity Published Archeological Investigations in the Bay islands, Spanish Honduras and An Introduction to Nebraska Archeology
1935-1937 -- Member, Committee on State Archeological Surveys, National Research Council
1936 -- Smithsonian Institution-Harvard expedition to northwestern Honduras to the valleys of the Chamelecon and the Ulua Rivers, Naco and other sites
1937-1962 -- Professor, later Chairman, Department of Anthropology, Columbia University
1937-1938 -- Vice-President, American Anthropological Association
1938 -- Fort Abraham Lincoln (Slant Mandan village) site and Sheyenne-Cheyenne village site excavations in North Dakota
1939 -- Chairman, National Research Council's Committee on Basic Needs in American Archaeology Excavated at Arzberger site in South Dakota and the area between the Chamberlain and Cheyenne Rivers
1940 -- Member, National Research Council's Committee on War Services of Anthropology Expeditions to western Florida and southwestern United States, especially New Mexico Peruvian archaeological survey
1941 -- Chairman, Section H, American Association for the Advancement of Science
1941-1942 -- President, American Ethnological Society Peruvian excavations at Pachacamac in the Chancay Valley and the Ancon-Supe excavations
1942? -- Peruvian excavations in the Naxca and Ica Valleys
1942-1944 -- Director, Ethnogeographic Board
1943 -- Published Cross Sections of New World Prehistory Appointed to Loubat Professorship at Columbia University
1945 -- Married Helen Richardson
1946 -- Peruvian excavations, Virú Valley Project National Research Council liaison member of the Committee for the Recovery of Archaeological Remains President, Institute of Andean Research
1948-1949 -- Chairman, Anthropology Section of New York Academy of Sciences
1949 July-August -- Peru-Mexico trip
1950 -- Talking Crow site expedition Excavated at Signal Butte
1952-1953 -- Peruvian expeditions, Nazca and Ica Valleys
1954 -- Awarded the Viking Fund Medal Trip to western United States
1955-1956 -- President, Society for American Archaeology
1962 -- Died January 29
Selected Bibliography
1929 -- Strong, William Duncan. Aboriginal Society of Southern California. Vol. 26, University of California Publications in American Archaeology and Ethnology. Berkeley: University of California Press, 1929.
1935 -- Strong, William Duncan. Archeological Investigations in the Bay islands, Spanish Honduras. Washington: The Smithsonian Institution, 1935. Strong, William Duncan. An Introduction to Nebraska Archeology. Vol. 93, no. 10, Smithsonian Miscellaneous Collections. Washington: The Smithsonian Institution, 1935.
1938 -- Strong, William Duncan, Alfred Kidder, II, and A.J. Drexel Pail, Jr. Preliminary Report on the Smithsonian Institution-Harvard University Archeological Expedition to Northwestern Honduras, 1936. Vol. 97, no. 1, Smithsonian Miscellaneous Collections. Washington: The Smithsonian Institution, 1938.
1943 -- Strong, William Duncan. Cross Sections of New World Prehistory: a Brief Report on the Work of the Institute of Andean Research, 1941-1942. Vol. 104, no. 2, Smithsonian Miscellaneous Collections. Washington: The Smithsonian Institution, 1943. Strong, William Duncan. Archeological Studies in Peru, 1941-1942. New York: Columbia University Press, 1943.
1948 -- "The Archeology of Honduras." In The Circum-Caribbean Tribes Vol. 4, Handbook of South American Indians, edited by Julian H. Steward, 71-120. Bureau of American Ethnology, Bulletin No. 143. Washington: U.S. Government Print Office, 1948.
1952 -- Strong, William Duncan, and Clifford Evans. Cultural Stratigraphy in the Virú Valley, Northern Peru. New York: Columbia University Press, 1952.
For a complete bibliography of Strong's works, see Solecki, Ralph, and Charles Wagley. "William Duncan Strong, 1899-1962," American Anthropologist 65, no. 5 (October 1963): 1102-1111. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1525/aa.1963.65.5.02a00080
Related Materials:
Additional materials in the National Anthropological Archives relating to William Duncan Strong can be found in the records of the American Anthropological Association, Bureau of American Ethnology, Handbook of South American Indians, Institute of Social Anthropology, River Basin Surveys, the Society for American Archaeology, and Tulamniu Project (1933-1934); the papers of Ralph Leon Beals, John Peabody Harrington, Frederick Johnson, Frank Maryl Setzler, Ruth Schlossberg Landes, Albert Clanton Spaulding (including information on the Arzberger site), and Waldo Rudolph and Mildred Mott Wedel; Photographic Lot 14, Bureau of American Ethnology Subject and Geographic File; Photographic Lot 24, Bureau of American Ethnology-United States National Museum Photographs of American Indians; Photographic Lot 77-80, Portraits of Smithsonian Anthropologists; Photographic Lot 92-35, Ralph S. Solecki Photographs of Anthropologists; Numbered Collections, MS 4821 (records of the Anthropological Society of Washington), MS 4261 (photographs made on a site survey in the Santa Barbara Mountains, California, 1934), MS 4302 (journal covering the 1936 expedition to Honduras), MS 4846 (correspondence between BAE authors and the BAE editor's office), and MS 7200 (original field catalog of Honduran artifacts, 1936); and in the non-archival reference file. There are also materials in the Smithsonian Institution Archives in record units 87 (Ethnogeographic Board), 9528 (Henry Bascom Collins interviews), and 1050102 (papers of T. Wayland Vaughan). In the Human Studies Film Archives there is material on Strong in the video dialogues of Charles Wagley, 1983.
Provenance:
The Strong papers were donated to the archives by Strong's widow, Mrs. Helen Richardson Strong. Most of the arrangements were handled by Ralph S. Solecki, then of Columbia University. He sent the papers to the archives between 1974 and 1979, and there have been small accretions since that time. These accretions came through Richard G. Forbis, Department of Anthropology, University of Calgary; Mildred Mott Wedel and Waldo R. Wedel, Department of Anthropology; and Nan A. Rothschild, Department of Anthropology, Barnard College. Mrs. Strong donated the rights in the unpublished material in the collection to the Department of Anthropology, Smithsonian Institution.
Restrictions:
The William Duncan Strong papers are open for research.
Access to the William Duncan Strong papers requires and appointment.
Rights:
Contact the repository for terms of use.
Topic:
Excavations (Archaeology) -- California Search this
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Virginia -- Fredericksburg
United States of America -- Virginia -- Fredericksburg
Date:
[between 1914 and 1949?]
General:
No 35 mm slide.
Historic plate number: "61."
Historic plate caption: "Kenmore."
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.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Virginia -- Fredericksburg
United States of America -- Virginia -- Fredericksburg
Date:
[between 1914 and 1949?]
General:
No 35 mm slide.
Historic plate number: "34 A."
Historic plate caption: "Kenmore."
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.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Virginia -- Fredericksburg
United States of America -- Virginia -- Fredericksburg
Date:
[between 1914 and 1949?]
General:
No 35 mm slide.
Historic plate number: "57."
Historic plate caption: "Kenmore."
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.
United States of America -- Virginia -- Fredericksburg
Date:
12/19/1928
General:
Request for publication: Audiovisual Editorial Librarian, Colonial Williamsburg Foundation Library, P. O. Box 1776, Williamsburg, VA 23187-1776.
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.
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:
Lee Nordness business records and papers, circa 1931-1992, bulk 1954-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
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.
Quotes and excerpts must be cited as follows: Oral history interview with Joel Philip Myers, 2007 May 1. Archives of American Art, Smithsonian Institution.
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
