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Lucy R. Lippard papers

Creator:
Lippard, Lucy R.  Search this
Names:
Addison Gallery of American Art  Search this
Alliance for Cultural Democracy  Search this
Art Workers Coalition  Search this
Heresies Collective, Inc.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Political Art Documentation/Distribution (Organization)  Search this
Printed Matter, Inc.  Search this
Studio International (Firm)  Search this
University of Colorado -- Faculty  Search this
Women's Caucus for Art  Search this
Andre, Carl, 1935-  Search this
Chicago, Judy, 1939-  Search this
Darboven, Hanne  Search this
Edelson, Mary Beth  Search this
Hammond, Harmony  Search this
Henes, Donna  Search this
Johnson, Ray, 1927-  Search this
Judd, Donald, 1928-  Search this
LeWitt, Sol, 1928-2007  Search this
Pearson, Henry, 1914-2006  Search this
Stevens, May  Search this
Extent:
70.5 Linear feet
0.454 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Sound recordings
Interviews
Photographs
Date:
1930s-2010
bulk 1960-1990
Summary:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Scope and Contents:
The papers of New York and New Mexico writer, art critic, and curator, Lucy R. Lippard, measure 70.5 linear feet and 0.454 GB and date from the 1930s to 2007, with the bulk of the material dating from the 1960s to the 1990s. Over half of the collection consists of correspondence files documenting Lippard's professional relationships with artists, writers, galleries, art institutions, and political organizations, and her interest in conceptual and minimalist art, feminism and political activism. Also found are Lippard's notes and writings including sound recordings and interviews, teaching and exhibition files, printed and digital material, several works of art, and photographs of artwork and artists. Scattered throughout the collection are a small number of records concerning Lippard's personal life. An addition of 3.0 linear feet donated 2015 includes subject files on feminist and conceptual art as well as land use, development, and local politics and history in New Mexico.

A small amount of biographical material comprises resumes and an address book.

Correspondence files document all aspects of Lippard's professional life including her relationships with artists such as Carl Andre, Judy Chicago, Hanne Darboven, Ray Johnson, Sol LeWitt, and Henry Pearson; feminist artists including Mary Beth Edelson, Harmony Hammond, Donna Henes, and May Stevens; political and art-related activist groups such as Alliance for Cultural Democracy, Art Workers Coalition, Political Art Documentation/Distribution, Printed Matter, and Women's Caucus for Art; galleries and museums including Addison Gallery of American Art and the Museum of Modern Art, and publishers including Art International and Art Forum. The series also traces the development of Lippard's involvement in activist causes including censorship and the rights of artists, Central America and the impact of U.S. policy on the region, and equality and reproductive rights for women, as well as her interest in conceptual and minimalist art. The series includes scattered artwork and photographs of artists.

Writings are primarily by Lippard and include correspondence, manuscript drafts, extensive notes, and publication records for some of her best-known books such as The Graphic Work of Philip Evergood (1966), Six Years: The Dematerialization of the Art Object (1973), Eva Hesse (1976), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990), as well as essays for publications such as Art Forum and Studio International and contributions to exhibition catalogs. Also found are edited transcripts from conferences, symposia and interviews conducted by and of Lippard, some audio recordings of interviews and symposia, including an interview with Donald Judd, and notes and typescripts for lectures and speeches.

A small number of files document Lippard's teaching work during the 1970s and 1980s, primarily at the University of Colorado, Boulder where she taught several courses and seminars.

Exhibition files document Lippard's involvement with exhibitions she helped to organize or curate such as A Different War: Vietnam in Art (1989-1991) 557,087 and 955,000 (1969, 1970), 2,972, 453 (1971) c.7,500 (1973-1974) and those for which she wrote catalog contributions.

Printed material includes a collection of articles written by Lippard and a small amount of material concerning events, such as speaking engagements, in which Lippard was involved. Other printed material reflects Lippard's wide range of artistic, political and activist interests and documents exhibitions and performances and the activities of art-related and political groups. Material includes many exhibition catalogs, announcements, invitations, printed posters, news clippings, journal articles, brochures, pamphlets and other publications.

Artwork includes sixteen items by unidentified artists, including two by children. Photographs consist primarily of photographs of works of art in addition to a small number of photos of exhibition installations.

There is a 17.0 linear foot unprocessed addition to this collection donated in 2015 and 2021 that incudes research files (press clippings, notes, correspondence, ephemera) related to the publications 'Lure of the Local' and 'Undermining' are a significant portion. In addition there are approximetley 50 notebooks ranging from 1965-1996, containing notes and daily tasks. Printed material and ephemera includes promotional materials for talks and public engagements, as well as press clippings of reviews and other news items featuring Lippard. Another significant portion of the addition is labeled "miscellaneous professional correspondence."Materials date from circa 1965-2010.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Biographical Material, circa 1960s-circa 1980s (Box 1; 2 folders)

Series 2: Correspondence, 1950s-2006 (Boxes 1-28, 51, OVs 54-63; 28.8 linear feet)

Series 3: Writings, 1930s-1990s (Boxes 28-41, 51-52, OVs 64-66; 13.24 linear feet, ER01; 0.454 GB)

Series 4: Teaching Files, 1966-1993 (Boxes 41, 52; 0.76 linear feet)

Series 5: Exhibitions, 1960s-1990s (Boxes 42-45, 52, OVs 67-68; 4.2 linear feet)

Series 6: Printed Material, 1940s-2007 (Boxes 45-49, 52, OVs 69-77; 5.3 linear feet)

Series 7: Artwork and Ephemera, circa 1960s-circa 1990s (Boxes 50, 53; 4 folders)

Series 8: Photographs, 1950s-circa 1990s (Boxes 50, 53, OV 71; 1.0 linear foot)

Series 9: Unprocessed Addition, circa 1965-2010, (Boxes 78-94; 17.0 linear feet)
Biographical / Historical:
New York and New Mexico writer and art critic, Lucy R. Lippard, is the curator of numerous exhibitions and the author of over twenty-four books and other writings that trace the emergence of minimalist and conceptual art and document Lippard's commitment to feminism and political activism.

Born in New York City in 1937, Lippard earned a B.A. from Smith College in 1958 and an M.A. in 1962 from New York University's Institute of Fine Arts. In the 1960s she began writing art criticism for the journals Art International and Artforum. In 1966 she curated the landmark exhibition Eccentric Abstraction at the Fischbach Gallery in New York City. Lippard then curated the first of four defining conceptual art exhibitions that became known as her "numbers" shows, each titled after the populations of the cities in which they took place, with catalogs in the form of a set of 10 x 15 cm index cards. Opening at the Seattle Art Museum in 1969, 557,087 was followed by 955,000 in Vancouver, Canada, a few months later. 2,972,453 was held at the Centro de Arte y Comunicacíon in Buenos Aires in 1971 and c.7500 opened in Valencia, California, in 1973-1974 before traveling to several other venues in the United States and Europe.

Lippard's first book, The Graphic Work of Philip Evergood was published in 1966, followed by Pop Art the same year, and a collection of her early essays, Changing, in 1971. Six Years: The Dematerialization of the Art Object (1973) and From the Center: Feminist Essays on Women's Art (1976) documented the emergence of conceptual art and the early years of feminist art respectively. In 1976 Lippard published her seminal book on the life and work of Eva Hesse.

Between 1977 and 1978 Lippard lived on a farm in Devon, England, and worked on a novel, The First Stone, about the role of politics in the lives of three generations of women. During her walks across the English countryside she became interested in landscape art and conceived of her book Overlay: Contemporary Art and the Art of Prehistory which was subsequently published in 1983. Other books include Get the Message?: A Decade Of Art For Social Change (1984), Ad Reinhardt (1985), and Mixed Blessings: New Art in a Multicultural America (1990). Lippard has also written regular columns on art and politics for the Village Voice, In These Times and Z Magazine, and has been a contributing editor of Art in America.

Lippard was radicalized during a trip to Argentina in 1968 when she was invited to be a juror at the Museo Nacional de Bellas Artes in Buenos Aires. On her return to the United States she became heavily involved in anti-war activities and the Art Workers Coalition. She is a co-founder of several feminist and artist organizations including the feminist collective Heresies, which produced Heresies: A Feminist Journal on Art and Politics from 1977-1992, Ad Hoc Women Artists, Alliance for Cultural Democracy, Artists Call Against U.S. Intervention in Central America, Women's Action Coalition, and Women's Art Registry. In 1976 she was a founder of Printed Matter, a New York nonprofit dedicated to producing artists' publications. She also worked closely with Franklin Furnace, an artist-run space devoted to the promotion of artists' books, installation art, and video and performance art, and served on the organization's International Committee.

Lippard has been a visiting professor at the School of Visual Arts, the University of Colorado, Boulder, and the University of Queensland, Australia, and was Eminent Artist in Residence at the University of Wyoming Department of Art in 2015. She has received honorary doctorates in fine arts from Maine College of Art, the Massachusetts College of Art, Moore College of Art, San Francisco Art Institute, and others, and awards including a Guggenheim Fellowship, two National Endowment for the Arts grants in criticism, the Smith College Medal, the ArtTable Award for Distinguished Service to the Visual Arts, and the Bard College Center for Curatorial Studies Award for Excellence.

Lippard has lived in New Mexico since 1992 and works as a freelance writer and speaker.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Lucy Lippard conducted in 2011 March 15, by Sue Heinemann, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, funded by a grant from the A G Foundation.
Provenance:
Lucy R. Lippard donated her papers in several increments between 1972-1995, 2006, 2015 and 2021.
Restrictions:
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.
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:
Curators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Artists -- Political activity  Search this
Art criticism  Search this
Feminism and art  Search this
Women authors  Search this
Women art critics  Search this
Art, Modern -- 20th century  Search this
Conceptual art  Search this
Minimal art  Search this
Women museum curators  Search this
Women educators  Search this
Genre/Form:
Sound recordings
Interviews
Photographs
Citation:
Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipplucy
See more items in:
Lucy R. Lippard papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9101c6a69-dde9-42ed-94cc-d03650c249ed
EDAN-URL:
ead_collection:sova-aaa-lipplucy
Online Media:

Gottlieb Hampfler garden photography collection

Photographer:
Hampfler, Gottlieb  Search this
Extent:
0.1 Cubic feet (63 35mm slide duplicates.)
Type:
Collection descriptions
Archival materials
Slides (photographs)
Place:
Granogue (Wilmington, Delaware)
Goodstay (Wilmington, Delaware)
Date:
circa 1955-1975
Summary:
The Gottlieb Hampfler Collection contains 63 duplicate 35mm slides of images of gardens in the Brandywine Valley in Delaware and Pennsylvania and Rye, New York taken by Hampfler, the staff photographer at Longwood Gardens in Kennett Square, Pennsylvania, from 1955-1975.
Biographical/Historical note:
Gottlieb A. Hampfler was the staff photographer for Longwood Gardens in Kennett Square, Pennsylvania, from 1955 until his retirement in 1975. His career in horticulture began with positions at Henry F. Michell Company and Andorra Nursery, both in Pennsylvania. After an exchange of correspondence between Hampfler and Longwood founder Pierre Samuel du Pont, Hampfler was hired in 1934 to serve on the horticulture staff there. In this position, he was able to indulge his passion for photography. Hampfler's first freelance work was done in 1938; from 1946-1948, he served on the faculty of Moore College of Art in Philadelphia. As the president of a number of camera clubs and a member of several professional societies, Hampfer lectured extensively and received numerous awards, including the Pennsylvania Horticultural Society's Certificate of Merit in 1993.
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.
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.
Topic:
Plants  Search this
Flowers  Search this
Gardens -- New York -- Rye  Search this
Gardens -- Delaware -- Wilmington  Search this
Genre/Form:
Slides (photographs)
Citation:
Smithsonian Institution, Archives of American Gardens, Gottlieb Hampfler photograph collection.
Identifier:
AAG.HMP
See more items in:
Gottlieb Hampfler garden photography collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb69779d11b-a793-4d3f-badb-1d2cfa218854
EDAN-URL:
ead_collection:sova-aag-hmp
Online Media:

Resume and Biography

Collection Creator:
De Forest, Roy, 1930-2007  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1972-2005
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Roy De Forest papers
Roy De Forest papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a74705a6-cd3f-4e99-ba60-fbc9f0831626
EDAN-URL:
ead_component:sova-aaa-deforoy-ref10
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  • View Resume and Biography digital asset number 1

Moore College of Art, 1965

Container:
Box 93 of 117
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 313, National Collection of Fine Arts, Central Administrative File, Records
See more items in:
Central Administrative File, Records
Central Administrative File, Records / Series 11: STATE AND FOREIGN COUNTRY FILES / Box 93
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0313-refidd1e17403

Pennsylvania quilts : one hundred years, 1830-1930, November 17-December 15, 1978, Moore College of Art

Author:
Moore College of Art  Search this
Physical description:
[16] p. : ill. ; 21 cm
Type:
Exhibitions
Place:
Pennsylvania
Date:
1978
C1978
19th century
20th century
Topic:
Coverlets--History  Search this
Call number:
NK9112 .M66 1978X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_126601

Jogbra, Inc. Records

Donor:
Lindahl, Lisa  Search this
Miller, Hinda  Search this
Smith, Polly Palmer  Search this
Names:
Jogbra, Inc.  Search this
Extent:
16. 5 Cubic feet (43 boxes, 1 map folder )
Type:
Collection descriptions
Archival materials
Advertising
Articles
Business records
Photographs
Promotional literature
Scrapbooks
Slides (photographs)
Date:
1977-2013
Summary:
The collection documents the invention of the Jogbra and includes biographical materials, business records, photographs, promotional, marketing and advertising materials, correspondence and audiovisual materials.
Scope and Contents:
The collection documents the invention of the sports bra primarily through marketing and promotional materials. The collection also documents the Jogbra, Inc. company activities, and includes biographical materials, business records, promotional, marketing and advertising materials, photographs, patent records, and audiovisual materials.
Arrangement:
The collection is divided into six series.

Series 1: Biographical Materials, 1980-2006

Series 2: Business Records, 1979-1999

Subseries 2.1: JBI, Inc., 1979-1996

Subseries 2.2: Champion Jogbra, 1988-1999

Series 3: Photographs, 1978-2008

Series 4: Promotional and Marketing Materials, 1979-2000

Series 5: Patent Records, 1978-2003

Series 6: Audiovisual Materials, 1993
Biographical / Historical:
Lisa Lindahl was frustrated by the inadequacy of her everyday bra when she began jogging in the early 1970s. When her sister, Victoria Woodrow began jogging she met with the same issues and called Lisa to ask what she did about it. Commiserating over their problems, Victoria asked, "What do you do about all the breast movement? It's so uncomfortable." And Lisa said, "I don't know. It really is uncomfortable." Victoria said, "Why isn't there a jock strap for women?" Lisa laughed back and said, "Yeah, same idea, different part of the anatomy. Wouldn't that be great?" The sisters hung up laughing and Lisa sat down and opened up a spiral notebook to record her thoughts and design criteria for this "jock bra." "Here's a bra made just for jogging. What would it do?" And Lindahl wrote, "Okay, the straps would not fall off my shoulders and there wouldn't be any hardware to dig in and it would be comfortable and maybe even breathable, and it would stop my breasts from bouncing."

Lindahl engaged her childhood friend Polly Palmer Smith in her effort to solve the bra problem. They found no suitable products in retail stores, but were inspired by Lisa's husband, Al Lindahl, who took a jock strap and pulled it over his head and down over his chest and said, "Hey ladies, here's your jock bra." Lisa said, "I had to get into the act, so I jumped up and said, "Let me try it. Let me try." And I pulled his jock strap up and over my head and pulled the pouch over my breast and the waistband of the jockstrap went around my rib and I kind of jumped up on bed and I said, "Polly, Polly, look at this, look at this." They went to multiple stores and inquired but could not find a bra that fit their needs--a bra that kept the breasts pressed flat against the chest and eliminated motion. They also wanted something without seams and hooks, wire or other metal elements. Lindahl, along with Polly Palmer Smith, a childhood friend from New Jersey, sewed a pair of jockstraps together creating a few prototypes.

Smith introduced Lindahl to Hinda Schreiber, a fellow costume designer and classmate at New York University. Schreiber worked as an assistant to Smith at the Champlain Shakespeare Festival held at the University of Vermont in the summer of 1977. With interest in and enthusiasm for the idea of creating more jogbras, Schreiber joined Lindahl and Smith. They called their product the "jockbra" but later changed it to "Jogbra," figuring that the word "jock" might be a turn-off for some women. On November 20, 1979, US Patent 4,174,717 for an athletic brassiere was issued to the three co-inventors. Subsequent US patents include:

Eugenie Z. Lindahl, Hinda S. Schreiber, and Polly P. Smith, Des. 259,370 for a brassiere, 1981; and US 4,311,150 for an athletic brassiere, 1982.

Eugenie Z. Lindahl and Hinda Schreiber, Des. 260,445 for an athletic shirt, 1981 and Des. 301,518 for a brassiere, 1989.

LaJean Lawson and Hinda Miller, US 6,083,080 for a protective brassiere with local energy absorption, 2000.

Lesli R. Bell and Eugenie Z. Lindahl, US 6,860,789 for a compression garment, 2005.

Lindahl started the company Jogbra, Inc. in 1977 and then re-named it SLS, Inc. (for Smith, Lindahl, Schreiber) in early 1978. As President of the company, Lindahl issued equal shares to herself, Smith and Schreiber. The name changed again to Jogbra Inc., for a brief time, before finally becoming JBI, Inc. in the early 1980s. Marketing their new product (with start-up capital lent by Miller's father, Bruce L. Schreiber) was a challenge. According to Lindahl, buyers for sporting goods stores were "squeamish" about displaying bras, which did not look like lingerie, but an athletic garment. Stores that did feature the jogbra were pleased by how well it sold. Miller placed strong emphasis on the point of purchase advertising and packaging. The jogbra line of products expanded to include a women's and men's sport brief, the Thermobra and Thermobrief. Soon, a number of other manufacturers, including Vanity Fair, Olga, and Warner, were entering the sports bra market.

JBI, Inc. was bought by Playtex Apparel, Inc. in 1990 and Playtex Apparel sold it to the Sara Lee Corporation in 1991. Throughout these transitions, Schreiber served as began as Vice-President and, in 1983, became President of the then JBI, Inc. when Lindahl became CEO and Chair of their Advisory Board of Directors. Smith was never active in the company and had become a minority shareholder. When JBI, Inc. was sold to Playtex Apparel, Miller and Lindahl became co-presidents of the new Jogbra Division until Lindahl left the company in 1991. Miller (née Schreiber) continued to serve as president and became CEO of the Champion Jogbra Division of Sara Lee in 1994. Miller left the company in 1997 to pursue other interests.

Lisa Z. Lindahl (November 23, 1948-) was born Eugénie Louise Zobian in Montclair, New Jersey to Florence and Ernest Zobian. The Zobians had four children, Ernest Jr., Mark, Victoria, and Eugénie, known as "Lisa." Lindahl graduated from Vernon Court Junior College in Newport, Rhode Island (1968), the Katherine Gibbs Secretarial School (1969), and later graduated from the University of Vermont with a bachelor's degree in education [1977]. She received a master's degree in culture and spirituality from Holy Names University in California in 2007. In 1970, Lindahl married Alfred Lindahl and divorced in 1978. Lindahl was diagnosed with epilepsy at age four and would later serve as Senior Vice President of the Board of Directors of the Epilepsy Foundation from 1991 to 2000 where, as Chair of the Women and Epilepsy Task Force she brought legitimacy to the gender differences in epilepsy and epilepsy treatments. In 2001, Lindahl co-founded, with Dr. Lesli Bell, the Lightning2 Company (dba Bellisse) to design and market their patented Compressure Comfort Bra, a compression garment for women suffering from lymphedema. Lindahl is the author of two books: Beauty As Action, The Way of True Beauty and How Its Practice Can Change Our World (2017) and Unleash the Girls, The Untold Story of the Invention of the Sports Bra and How It Changed the World (And Me), (2019). She continues to write and pursue other artistic interests.

Hinda Schreiber Miller (April 18, 1950-) was born in Montreal, Quebec, Canada. She graduated from the Parsons School of Design (B.F.A., 1972) and from New York University (M.F.A., 1976). A costume designer by training, Miller taught costume design at the University of South Carolina. Miller later became a Vermont state senator (2002-2013) representing the Chittenden District which includes all of Chittenden County. Miller ran unsuccessfully for mayor of Burlington, Vermont in 2006. She is presently president of DeForest Concepts, a consulting firm specializing in small business and the promotion of women entrepreneurs. Miller is married to Dr. Joel Miller and has two children.

Polly Palmer Smith (November 10, 1949-) was raised in Montclair, New Jersey. She graduated from the Moore College of Art & Design with a (B.F.A., 1971) and New York University (M.F.A., 1975). She joined the Jim Henson Company in 1978 where she worked as a costume designer for twenty-five years. Smith worked on films such as the Dark Crystal, The Muppets Take Manhattan, and Labyrinth. Some of her television work includes Fraggle Rock and Muppet Treasure Island. Smith received Emmy nominations for her designs for The Jim Henson Hour (1988) and Muppets Tonight (1996) and she received seven Emmy awards for her designs on Sesame Street. Smith also co-designed costumes for the television series The StoryTeller (1986-1988) which won a British Academy of Film and Television Arts (BAFTA) award for Best Costumes in 1989.
Historical:
The introduction of the sports bra made greater sports participation possible for many American women. Many women were reluctant to engage in sports such as running, basketball, and tennis because of the embarrassment and discomfort associated with excessive breast motion. The passage of Title IX (1972) and James Fixx's popular 1977 book, The Complete Book of Running, contributed to the increased popularity of sports for women. This increase in women's sports exposed the inadequacies of conventional brassieres for athletic use: weight shifts from bouncing caused straps on ordinary brassieres to slip around or off the shoulder; excessive motion caused friction and chafed skin; and hooks or other metallic elements tended to poke into the skin; and excessive bouncing caused soreness.
Related Materials:
Materials in the Division of Cultural and Community Life

Prototypes and finished Jogbras and Olympic pins. See accession: 2013.0322.

Materials at Other Organizations

Vermont Historical Society

Champion jogbra [publicity folder], 1988-2004

Summary: This packet of information contains photocopies and reprints of articles and advertisements from various publications, and press releases, published or released between 1988-2004, about the creation and development of the women's sports bra, Jogbra, by its inventors Hinda Miller and Lisa Lindahl.

Original jogbra

The Metropolitan Museum of Art

Jogbra Brassiere, 1979. See Accession: 1980.51.
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life), National Museum of American History, holds JogBra-related artifacts. See accession 2013.0322.
Provenance:
The collection was donated by Hinda Miller in 2013.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Social Security numbers are present and numbers have been rendered unreadable and redacted. Researchers may use the photocopies in the collection. The remainder of the collection has no restrictions.
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.
Topic:
Brassieres -- 20th century  Search this
Sports for women  Search this
Sporting goods industry  Search this
Sporting goods  Search this
Women athletes  Search this
Women's history -- United States  Search this
Women inventors -- 20th century  Search this
Genre/Form:
Advertising -- 20th century
Articles -- 20th century
Business records -- 20th century
Photographs -- 20th century
Promotional literature
Scrapbooks -- 20th century
Slides (photographs) -- 20th century
Citation:
Jogbra, Inc. Records, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.1315
See more items in:
Jogbra, Inc. Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep877883596-1840-417e-8eaf-332853682b0e
EDAN-URL:
ead_collection:sova-nmah-ac-1315
Online Media:

Moore College of Art

Collection Creator:
Fuller, Diana Burgess  Search this
Container:
Box 48, Folder 26
Type:
Archival materials
Date:
1977-1981
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Diana Fuller papers and gallery records
Diana Fuller papers and gallery records / Series 5: Dealer and Institution Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9deb9b19d-49dd-47a4-b205-bf08b2f0beed
EDAN-URL:
ead_component:sova-aaa-fulldian-ref1537

Robert Arneson: Self Portrait (1979), Moore College of Art

Collection Creator:
Fuller, Diana Burgess  Search this
Container:
Box 9, Folder 20
Type:
Archival materials
Date:
1978-1979
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Diana Fuller papers and gallery records
Diana Fuller papers and gallery records / Series 3: Artists' Files / Arneson, Robert
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9735cdf51-a296-44d4-af72-38f659beefa3
EDAN-URL:
ead_component:sova-aaa-fulldian-ref363

Robert Hudson Exhibition (1977), Moore College of Art

Collection Creator:
Fuller, Diana Burgess  Search this
Container:
Box 21, Folder 32
Type:
Archival materials
Date:
1976-1978
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:
Diana Fuller Papers and Gallery Records, 1958-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Diana Fuller papers and gallery records
Diana Fuller papers and gallery records / Series 3: Artists' Files / Hudson, Robert
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9229b78e9-9793-4121-bc0b-6b586bae2352
EDAN-URL:
ead_component:sova-aaa-fulldian-ref700

Moore College of Art; Philadelphia, Pa.

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box 15, Folder 2
Type:
Archival materials
Date:
1967
Collection Restrictions:
Use of original records 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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw976bd2351-2a56-4516-b944-d77d1bafcb59
EDAN-URL:
ead_component:sova-aaa-leocast-ref8824

Moore College of Art - Johns and Lichtenstein Loans

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box 15, Folder 3
Type:
Archival materials
Date:
1974
Collection Restrictions:
Use of original records 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:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 1: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e5691549-f1fa-4b5b-a147-c79d5d146b5d
EDAN-URL:
ead_component:sova-aaa-leocast-ref8825

Moore College of Art

Container:
Box 21 of 31
Type:
Archival materials
Collection Restrictions:
Box 31 contains materials restricted indefinitely; see finding aid; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Record Unit 7449, Joseph H. Hirshhorn Papers
See more items in:
Joseph H. Hirshhorn Papers
Joseph H. Hirshhorn Papers / Series 6: BIOGRAPHY, AWARDS, CLIPPINGS, AND IMAGES. / Box 21
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru7449-refidd1e8021

Moore College of Art and Design records

Creator:
Moore College of Art and Design  Search this
Names:
Contemporary African-American art: a new visibility ((1990 : Moore College of Art))  Search this
Moore College of Art  Search this
Moore Institute of Art, Science and Industry  Search this
Philadelphia School of Design for Women  Search this
Extent:
7 Microfilm reels (Records)
1990 panel discussion: 1 video cassette + 2 sound cassettes
Type:
Collection descriptions
Archival materials
Microfilm reels
Video recordings
Sound recordings
Date:
1850-1990
Scope and Contents:
Business records, scrapbooks, printed material, photographs, and a video and related sound recordings.
REELS P3-P4: Material concerning the early history of the school, including a document of incorporation and the first annual report; constitution, by-laws, announcements, and other printed material; catalogs and course announcments; and a scrapbook of clippings of the school and of classes.
REEL 3654: Documents, 1850-1853, concerning the founding of the school; committee records; administrative correspondence; reports; lists of students; appeal for endowment; materials regarding independence of the School of Design from the Franklin Institute; and miscellaneous items relating to the school's later history.
REELS 4286-4289: Business records consisting of annual reports in loose and bound formats, minutes, and student registers; scrapbooks; and photographs.
UNMICROFILMED: A videocassette recording of the panel discussion "Contemporary African-American Art: A New Visibility," held at the College February 1, 1990. Also included are 2 cassettes of the audio portion of the discussion. Participants include James Brantley, Victor Davson, Felicity Benoliel, June Kelley, Howardena Pindell, and Sande Webster.
Biographical / Historical:
Art school; Philadelphia, Pa. Est. 1848 as the School of Design for Women; part of the Franklin Institute, 1850-1853, became independent in 1853 as Philadelphia School of Design for Women. The name was changed to Moore Institute of Art, Science and Industry in 1932, in 1963 to Moore College of Art, and in 1988 to Moore College of Art and Design.
Other Title:
Moore College of Art records (microfilm title, reels 4286-4289)
Philadelphia School of Design for Women records (microfilm reel 3654 title)
Provenance:
Microfilmed in 1954, 1985 and 1989 as part of AAA's Philadelphia Arts Documentation Project. Only materials of the school through 1960 were microfilmed, as that was shortly after the retirement and death of dean Harriet Sartain, and the school moved into its new facilities at that time. Video of the panel discussion and related sound recordings were donated 1990 by the College.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Topic:
Art -- Study and teaching -- Pennsylvania -- Philadelphia  Search this
African American artists  Search this
Women artists  Search this
Function:
Art Schools -- Pennsylvania -- Philadelphia
Genre/Form:
Video recordings
Sound recordings
Identifier:
AAA.moorcoll
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw910ee1931-0000-4157-923d-36ba3e264bad
EDAN-URL:
ead_collection:sova-aaa-moorcoll

Alice Neel papers, 1933-1983

Creator:
Neel, Alice, 1900-1984  Search this
Type:
Photographs
Notes
Citation:
Alice Neel papers, 1933-1983. Archives of American Art, Smithsonian Institution.
Topic:
Portrait painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Portrait painting -- 20th century -- United States  Search this
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7576
(DSI-AAA_SIRISBib)209737
AAA_collcode_neelalic
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209737
Online Media:

Jessie Willcox Smith papers, 1901-1931

Creator:
Smith, Jessie Willcox, 1863-1935  Search this
Citation:
Jessie Willcox Smith papers, 1901-1931. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women illustrators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9723
(DSI-AAA_SIRISBib)212007
AAA_collcode_smitjess
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212007

Alice Kent Stoddard photograph album, [ca. 1906]-1971

Creator:
Stoddard, Alice Kent Pearson, 1885-1976  Search this
Citation:
Alice Kent Stoddard photograph album, [ca. 1906]-1971. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9974
(DSI-AAA_SIRISBib)212664
AAA_collcode_stodalic
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212664

Moore College of Art and Design records, 1850-1990

Creator:
Moore College of Art and Design  Search this
Subject:
Moore College of Art  Search this
Moore Institute of Art, Science and Industry  Search this
Philadelphia School of Design for Women  Search this
Contemporary African-American art: a new visibility ((1990 : Moore College of Art))  Search this
Type:
Video recordings
Sound recordings
Citation:
Moore College of Art and Design records, 1850-1990. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching -- Pennsylvania -- Philadelphia  Search this
African American artists  Search this
Women artists  Search this
Theme:
African American  Search this
Art instruction and services  Search this
Record number:
(DSI-AAA_CollID)10165
(DSI-AAA_SIRISBib)213148
AAA_collcode_moorcoll
Theme:
African American
Art instruction and services
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213148

Sartain family papers, 1795-1944

Creator:
Sartain, family  Search this
Subject:
Cassatt, Mary  Search this
Daingerfield, Elliott  Search this
Eakins, Thomas  Search this
Sartain, Harriet  Search this
Swaine, William  Search this
Chivers, T. H. (Thomas Holley)  Search this
Sartain, Emily  Search this
Sartain, Henry  Search this
Sartain, John  Search this
Sartain, Paul  Search this
Sartain, Samuel  Search this
Sartain, William  Search this
United States Sanitary Commission. Great Sanitary Fair. Fine Art Gallery (1864 : Philadelphia, Pa.)  Search this
Art-Union of Philadelphia  Search this
National Art Association (Washington, D.C.)  Search this
Philadelphia Union of Associationists  Search this
Artists' Fund Society  Search this
Graphic Association of Philadelphia  Search this
Pennsylvania Academy of the Fine Arts  Search this
American Exhibition (1887 : London, England)  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Citation:
Sartain family papers, 1795-1944. Archives of American Art, Smithsonian Institution.
Topic:
Sartain's union magazine of literature and art  Search this
Engraving -- Printing -- Pennsylvania -- Philadelphia  Search this
Painting, American -- Pennsylvania -- Philadelphia  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10786
(DSI-AAA_SIRISBib)214427
AAA_collcode_sartfami
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214427

Art and Alice Neel [videorecording] / WGTV, University of Georgia Television, undated

Creator:
Georgia Museum of Art  Search this
Subject:
Neel, Alice  Search this
Paul, William D.  Search this
WGTV (Television station : Athens, Ga.)  Search this
Type:
Video recordings
Interviews
Citation:
Art and Alice Neel [videorecording] / WGTV, University of Georgia Television, undated. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)21862
(DSI-AAA_SIRISBib)215167
AAA_collcode_geormusa
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215167

Moore College of Art

Collection Creator:
Terry Dintenfass, Inc.  Search this
Container:
Box 5, Folder 68
Type:
Archival materials
Date:
1974
Collection Restrictions:
Use of original papers requires an appointment and is limited to the 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:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Terry Dintenfass, Inc. records
Terry Dintenfass, Inc. records / Series 3: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw951462184-afdb-4a73-a9f5-1ba28525d893
EDAN-URL:
ead_component:sova-aaa-terrdint-ref307

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