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Eunice Golden papers

Creator:
Golden, Eunice  Search this
Names:
Soho 20 (Gallery)  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1945-2002
bulk 1963-1979 dates
Scope and Contents:
Notebook, 1963-1979, containing exhibition catalogs, announcements and reviews; correspondence, mainly business, and with the Soho 20 Gallery, 1970-1979; awards; writings; files on Golden's involvement with teaching, filmmaking, dance and women's studies; reproductions of works of art; articles about Golden; and handwritten poem by Golden, 1945, and an exhibition announcement, 2002.
Biographical / Historical:
Eunice Golden is a painter and filmmaker in New York, New York.
Provenance:
Donated 1980 and 2002 by Eunice Golden.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Filmmakers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Women motion picture producers and directors -- New York (State) -- New York  Search this
Identifier:
AAA.goldeuni
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-goldeuni

George Sidney Collection

Collector:
Music, Sports and Entertainment, Division of, NMAH, SI  Search this
Sidney, George, 1916-2002  Search this
Music, Sports and Entertainment, Division of, NMAH, SI  Search this
Donor:
Sidney, Corinne Entratter  Search this
Sidney, Corinne Entratter  Search this
Names:
Columbia Pictures  Search this
Metro-Goldwyn-Mayer Pictures  Search this
Paramount Pictures  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Margret, Ann-, 1941-  Search this
Robinson, Edward G., 1893-1973  Search this
Sidney, George, 1877-1945  Search this
Sidney, Hazel Mooney  Search this
Sidney, Louis K.  Search this
Sullivan, Ed, 1901-1974  Search this
Extent:
54 Film reels
96 Cubic feet (288 boxes, 6 oversize folders)
Type:
Collection descriptions
Archival materials
Film reels
Photographs
Place:
Hollywood (Los Angeles, Calif.)
Date:
1885-2002
bulk 1940-1967
Summary:
George Sidney (1916-2002) was a film director during the Golden Age of Hollywood filmmaking (1927-1954). He spent the longest period of his career at Metro-Goldwyn-Mayer (MGM) until the 1950s. He later produced and directed films for Columbia Pictures and Paramount Pictures. He was a president of the Directors Guild of America and an avid photographer. He was the recipient of three awards from the Academy of Motion Picture Arts and Sciences (Oscar). The collection consists of photographs, photographic negatives, personal and business materials, and film. The collection also contains material created by George Sidney's uncle, George Sidney, vaudevillian and motion picture actor.
Scope and Contents:
The George Sidney Collection consists of approximately eighty-eight cubic feet of photographs and materials from the Hollywood director George Sidney, most dealing with his career in motion pictures. Sidney was an avid photographer and collector of photographs documenting extremely well the Hollywood film community during the Studio Era (1927-1954) of filmmaking. The bulk of the collection is from Sidney's most productive years, circa 1937-1968.

MGM's motto was "More Stars than there are in Heaven" and the researcher would be advised that the extent of this collection is such that it is impossible to list and identify all of the celebrities and personalities photographed, both behind and in front of the camera. There are stills from Sidney's many productions as well as his on-set personal photographs. There are photographs from dinner parties, and many studio and film community functions. Productions are dated to their generally accepted first theatrical release date (Los Angeles and New York) and in the case of a Broadway show to their opening date.
Arrangement:
The collection is arranged into six series.

Series 1: Photographs, Photographic Negatives, and Slides, 1914-1996, undated.

Subseries 1.1: The Camera Eye of George Sidney, undated.

Subseries 1.2: Productions (Motion Picture, Stage, and Radio), 1921-1968. Subseries 1.3: Personalities and People, 1932-1996, undated.

Subseries 1.4: Personal and Family, 1914-1992, undated.

Subseries 1.5: Family Photograph Albums and Scrapbooks, 1918-1950, undated.

Subseries 1.6: Travel and Locations, 1940-1981, undated.

Subseries 1.7: Studio, Entertainment, and Public Events, 1949-1995, undated.

Subseries 1.8: Tests, 1938-1967, undated.

Subseries 1.9: Photographic Negatives, 1937-1979, undated

Series 2: Production Ephemera, Posters, Scripts, 1930-1991, undated.

Subseries 2.1: Production Posters, 1943-1964, undated

Subseries 2.2: Production Ephemera and Scripts, 1930-1991, undated

Series 3: Office Files and Personal Material, 1903-2002, undated

Subseries 3.1: Personal Material, 1944-2002, undated

Subseries 3.2: Correspondence, Random Files, Indices, and Inventories, 1903-2002, undated

Series 4: Music Manuscripts, Sheet Music, and Music Related Material, 1885-1992, undated

Subseries 4.1: Music Manuscripts, 1937-1960, undated

Subseries 4.2: Sheet Music, 1885-1990

Subseries 4.3: Music Related Material, 1971-1992, undated

Series 5: Audiovisual, 1933-2001, undated

Subseries 5.1: Film, 1940-1960, undated

Subseries 5.2: Audio, 1933-2001, undated

Subseries 5.3: Video, 1989-2001, undated

Series 6: George Sidney (1877-1945), 1909-1945, undated
Biographical / Historical:
George E. Sidney was born in New York, New York on October 4th, 1916 into a show business family. His father Louis K. Sidney (birth surname Kronowith) (1891-1958) was a Broadway producer, actor-manager, and one of the vice-presidents of Loew's Incorporated. Sidney's mother, Hazael Mooney (?-1969), was a vaudeville performer, part of a sister act known as The Mooney Sisters. She was a native New Yorker, daughter of prominent New York City attorney Henry Mooney. She and Louis were married at her home, 12 West 109th Street, New York. Another residence was 179 West 63rd Street.

Louis K. Sidney began working for Loew's Incorporated in 1923. He managed theatres in Denver, Pittsburgh, Toledo, Dayton, and New York. Later he was in charge of stage productions for the theatre circuit. He was in charge of MGM's East Coast film production facility in New York. He and Hazael followed son George to Los Angeles in 1937. Louis produced two motion pictures at MGM, The Big Store with the Marx Brothers and Hullabaloo. After February 1951, he was a member of the four man executive committee in charge of MGM. At his retirement in 1955, Louis K. had risen to the position of vice-president of Loew's, Incorporated. He served as vice-president and director of the Motion Picture Producers Association, as a director of the Motion Picture Relief Fund, and the Hollywood Coordinating Committee.

George Sidney had two uncles in show business, Jack Sidney, known as "Jack of Spades" a black-face comedian, and Sidney's half-uncle, George Sidney (1877-1945) (real name Samuel Greenfield), a vaudeville comic. George had a successful Broadway and screen career, most notably as the bum, Busy Izzy, a character that lasted on the vaudeville circuit from 1901-1915. His initial Broadway success was in a show entitled Welcome Stranger that ran for 309 performances. Welcome Stranger had an extensive touring schedule across the United States. In conjunction with Charlie Murray, he developed a comedy act known as Cohen and Kelly that was not only a vaudeville success but easily made the transition to motion pictures. The Cohens and Kellys films became a motion picture franchise for Universal Studios in 1924. He was married to Carrie Weber (?-1940). George was a member of the Friars Club and an avid sports fan. He owned a racehorse named Kibbitzer.

George Sidney made his on-screen debut in The Littlest Cowboy (1921) starring Tom Mix. He moved to Los Angeles in 1930. Sidney went to work as a messenger at MGM. Louis B. Mayer's nickname for Sidney was "boy". Sidney flourished at the studio and by the time he was twenty he was directing screen tests and one-reel shorts. He directed installments in the Our Gang and Little Rascals series, as well as the Pete Smith and the Crime Does Not Pay series. He won back-to-back Oscars for two of his shorts, Quicker'n a Wink (1940) and Of Pups and Puzzles (1941). His feature film directing debut was Free and Easy (1941) starring Robert Cummings. His first major film musical was the all-star, war time musical, Thousands Cheer (1943), starring Kathryn Grayson and Gene Kelly. Sidney always indicated he viewed films as entertainment and seems to have rejected the auteur theory of directing embraced by some of his well known colleagues such as John Ford and Vincent Minnelli. His film, The Three Musketeers (1948), starring Gene Kelly and Lana Turner, was one of MGM's highest grossing films in the post World War Two period. He won his third Oscar for the short, Overture to 'The Merry Wives of Windsor, in 1954. Jupiter's Darling (1955) with Esther Williams was Sidney's last film for MGM. He was loaned to Columbia Pictures to direct The Eddy Duchin Story (1956), after which his contract at MGM ended.

Sidney went on to become an independent producer and director at Columbia Pictures where he directed such films as Pal Joey (1957), starring Frank Sinatra, and Bye Bye Birdie (1963) starring Ann-Margret. He returned to MGM in the 1960s to make A Ticklish Affair (1963), starring Shirley Jones and Viva Las Vegas (1964), starring Ann-Margret and Elvis Presley. His last film was the musical Half a Sixpence (1967) starring Tommy Steele for Paramount Pictures. Sidney also directed and produced for television most notably Who Has Seen the Wind (1964). He financed and founded Hanna-Barbera Productions in 1944. He was a two-term president, 1951-1959 and 1961-1967, of the Directors Guild of America (DGA), earlier known as the Screen Directors Guild (SDG).

In his personal life, Sidney was married in 1942 to legendary MGM drama coach, Lillian "Burnsie" Burns Salzer (1903-1998). He was eight years her junior. They lived at the Sidney home (1140 Tower Road) in Beverly Hills. They divorced in the mid 1970s. For a brief time Sidney maintained a penthouse apartment for George Sidney Productions at 144 South Beverly Drive, Beverly Hills. He maintained a suite (301) in the Palm Wilshire Building, 9201 Wilshire Boulevard in the 1970s. He married his second wife, Jane Adler Robinson (?-1991), second wife and widow of actor Edward G. Robinson (1893-1974), around 1978. The house at 1140 Tower Road was sold and Sidney moved to the Robinson home at 910 Rexford Drive in Beverly Hills. Sidney married his third wife, Corinne Kegley Entratter (1937-?), widow of showman and Las Vegas entrepreneur John Entratter, in 1991. Sidney was a prolific photographer. He collected art and was apparently an avid gardener. He was a member of the Royal Horticultural Society. He died in Las Vegas, Nevada in May 2002.
Related Materials:
The Harry Warren Collection, AC0750

The Groucho Marx Collection, AC0269

Sidney related artifacts from Sidney's films are housed in the Division of Culture and the Arts, National Museum of American History, Smithsonian. There are scrapbooks donated by the Sidney Estate in the collection of the Cinema-Television Library, Doheny Library, University of Southern California, consisting of eleven volumes containing photographs, correspondence, publicity documents, and other materials, circa 1933-1963.
Provenance:
This collection was donated to the Archives Center in 2005 by Corinne Entratter Sidney, widow of George Sidney.
Restrictions:
This collection is open for research use.

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

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
The Archives Center does not own exclusive rights to these materials. All requests for permission to use these materials for non-museum purposes must be addressed directly to the Archives Center, and the Archives Center will forward the request to the copyright holder. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Topic:
Motion picture production and direction  Search this
Motion picture producers and directors  Search this
Motion pictures  Search this
Vaudeville  Search this
Musicals  Search this
Genre/Form:
Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century
Citation:
George Sidney Collection, Archives Center, National Museum of American History, gift of Corinne Entratter Sidney
Identifier:
NMAH.AC.0867
See more items in:
George Sidney Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0867

Interview with Anthony Anderson

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Extent:
1 Video recording (MiniDV)
Culture:
African American  Search this
Type:
Archival materials
Video recordings
Interviews
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
2011
Scope and Contents:
Filmmaker Anthony Anderson lived in Anacostia in southeast Washington, D.C. until he entered high school when he moved to Montgomery County, Maryland. Anderson started creating and writing stories at a young age, and involved himself in the performing arts, including stage plays in high school. After several unsuccessful attempts to secure a role on 'The Wire,' Anderson was inspired by Spike Lee interview in which Lee stated you have to create your chance. Anderson explains this inspiration lead him to revisit his previously written scripts and start making films. He talks about his first film 'The Ties that Binds,' and his web series 'Anacostia.' Anderson explains his inspiration comes from people in Washington, D.C. and what success means to him. He talks about his creative process, where his ideas come from, trusting people he works with, and his biggest struggles creating the web series. Anderson provides advice to aspiring Anacostians.
Interview. Dated 20110210.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Topic:
African Americans  Search this
Motion picture producers and directors  Search this
African American motion picture producers and directors  Search this
Civic leaders  Search this
Communities  Search this
Genre/Form:
Video recordings
Interviews
Citation:
Interview with Anthony Anderson, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.01-007.16, Item ACMA AV005206
See more items in:
Community and Creativity Project Records
Community and Creativity Project Records / Series 2: Oral History Interviews
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-01-007-16-ref101

Oral history interview with Tony Ganz, 2014 December 6

Interviewee:
Ganz, Tony, 1947-  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Subject:
Bonin, Ted  Search this
Bontecou, Lee  Search this
d'Offay, Anthony  Search this
Deitsch, Jeffrey  Search this
Fries, Charles W.  Search this
Ganz, Paul  Search this
Ganz, Sally  Search this
Ganz, Sol  Search this
Ganz, Victor  Search this
Hesse, Eva  Search this
Lowry, Glenn D.  Search this
Marks, Matthew  Search this
Matta-Clark, Gordon  Search this
Mutrux, Gail  Search this
Oldenburg, Claes  Search this
Picasso, Pablo  Search this
Smithson, Robert  Search this
Stella, Frank  Search this
Thek, Paul  Search this
Weinberg, Adam D.  Search this
Whiteread, Amber  Search this
Zwirner, David  Search this
D. Lisner Jewelry  Search this
Harvard University  Search this
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
Type:
Interviews
Sound recordings
Topic:
Motion picture producers and directors  Search this
Art -- Collectors and collecting  Search this
Photography  Search this
Record number:
(DSI-AAA_CollID)16213
(DSI-AAA_SIRISBib)368428
AAA_collcode_ganz14
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_368428
Online Media:

Oral history interview with Charles Atlas, 2016 May 31-June 1

Interviewee:
Atlas, Charles, 1949-  Search this
Interviewer:
Yablonsky, Linda, 1948-  Search this
Subject:
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Type:
Interviews
Sound recordings
Topic:
AIDS (Disease) and the arts  Search this
Motion picture producers and directors  Search this
Record number:
(DSI-AAA_CollID)17344
(DSI-AAA_SIRISBib)380477
AAA_collcode_atlas16
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_380477

Oral history interview with Cheech Marin, 2017 October 16-17

Interviewee:
Marin, Cheech, 1946-  Search this
Interviewer:
Franco, Josh T., 1985-  Search this
Subject:
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
Type:
Sound recordings
Interviews
Topic:
Art -- Collectors and collecting -- California -- Interviews  Search this
Actors -- California -- Interviews  Search this
Authors -- California -- Interviews  Search this
Motion picture producers and directors -- California -- Interviews  Search this
Record number:
(DSI-AAA_CollID)17519
(DSI-AAA_SIRISBib)391020
AAA_collcode_marin17
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_391020

Eunice Golden papers, 1945-2002, bulk bulk 1963-1979 dates

Creator:
Golden, Eunice  Search this
Subject:
Soho 20 (Gallery)  Search this
Topic:
Women painters -- New York (State) -- New York  Search this
Women motion picture producers and directors -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)8225
(DSI-AAA_SIRISBib)210396
AAA_collcode_goldeuni
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210396

Linda Freeman papers, 1971-2015, bulk 1990-2011

Creator:
Freeman, Linda, 1941-  Search this
Subject:
Bearden, Romare  Search this
Pindell, Howardena  Search this
Pippin, Horace  Search this
Lawrence, Jacob  Search this
L & S Video, Inc.  Search this
Type:
Interviews
Moving images
Documentary films
Unedited footage
Topic:
Women artists  Search this
Women motion picture producers and directors  Search this
Record number:
(DSI-AAA_CollID)16260
(DSI-AAA_SIRISBib)370974
AAA_collcode_freelind
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_370974

Race Movies: The Popular Art of the Black Renaissance

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Ellington, Duke, 1899-1974  Search this
Foster, William D., 1884-  Search this
Johnson, James Weldon, 1871-1938  Search this
Micheaux, Oscar, 1884-1951  Search this
Smith, Bessie, 1894-1937  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Sound recording (open reel, 1/2 inch)
1 Sound recording (open reel, 1/4 inch)
2 Video recordings (VHS)
1 Video recording (MiniDV)
Culture:
African American  Search this
Type:
Archival materials
Sound recordings
Video recordings
Place:
Harlem (New York, N.Y.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1985
Scope and Contents:
Short film in which narrator provided the history of African American contributions to the film industry and portrayal of African Americans in film from the silent film era through the Harlem Renaissance. Includes images and clips from The Birth of a Nation, The Birth of a Race, By Right of Birth, The Homesteader, and The Scar of Shame. Includes work and contributions of Bessie Smith, Duke Ellington, James Weldon Johnson, Oscar Micheaux, and Bill Foster, also known as William D. Foster, to the film industry.
Short film. Part of The Renaissance: Black Arts of the Twenties Audiovisual Records. AV003253-1 and AV003253-2: music only, no sound and/or very low volume sound between songs. AV003253-3: narraton only. AV003253-4: repetitious sound. AV003253-5: narration and music. Dated 19850906. AV003452: narration only, undated. AV002130 and AV002141: image and sound (narration and music) including movie clips, undated. AV005152: image and sound, original Dub from 3/4" [U-Matic] tape - remastered version, dated 19850905.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Local Numbers:
ACMA AV003253-2

ACMA AV003253-3

ACMA AV003253-4

ACMA AV003253-5

ACMA AV003452

ACMA AV002130

ACMA AV005152

ACMA AV002141
General:
Title transcribed from contents of recording.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
Harlem Renaissance  Search this
African Americans in the performing arts  Search this
Motion picture producers and directors  Search this
African American motion picture producers and directors  Search this
African American musicians  Search this
Musicians  Search this
Race films  Search this
Museum exhibits  Search this
Genre/Form:
Sound recordings
Video recordings
Citation:
Race Movies: The Popular Art of the Black Renaissance, Exhibition Records AV03-024, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-024, Item ACMA AV003253-1
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
The Renaissance: Black arts of the Twenties exhibition records / Series ACMA AV03-024: The Renaissance: Black arts of the Twenties audiovisual records
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_component:sova-acma-03-024-ref505

Nike Advertising Oral History and Documentation Collection

Interviewer:
Center for Advertising History, Archives Center  Search this
Ellsworth, Scott, Dr.  Search this
Creator:
Nike, Inc.  Search this
Names:
Adidas  Search this
Asics  Search this
Nike, Inc.  Search this
Wieden & Kennedy  Search this
Interviewee:
Onitsuka  Search this
Bedbury, Scott  Search this
Bowerman, William  Search this
Brown, John A.  Search this
Champ, Janet  Search this
Clarke, Tom  Search this
Clow, Lee  Search this
Conlon, Jerry  Search this
Davenport, Bill  Search this
Dolan, Liz  Search this
Donohue, Richard  Search this
Farris, Nelson  Search this
Hale, Cindy  Search this
Hoffman, Susan  Search this
Jackson, Bo  Search this
Jaqua, John  Search this
Johnson, Jeff  Search this
Kitami, Shoji  Search this
Knight, Phillip  Search this
McConnell, Pam  Search this
Moore, Charlotte  Search this
Moore, Kenny  Search this
Moore, Peter  Search this
Onitsuka, Kimachiro  Search this
Parker, Mark  Search this
Riswold, Jim  Search this
Robinson, Charles  Search this
Sakaguchi, Tokio  Search this
Stobie, Patsy Mest  Search this
Strasser, Robert (marketing executive)  Search this
Thomashow, Mark  Search this
Wieden, Dan  Search this
Extent:
12 Cubic feet (25 boxes)
Type:
Collection descriptions
Archival materials
Oral history
Videotapes
Tear sheets
Clippings
Audiotapes
Fliers (printed matter)
Advertising fliers
Commercials
Interviews
Place:
Beaverton (Or.)
Portland (Oregon)
Date:
1958 - 1992
Summary:
The Nike Advertising Oral History and Documentation Collection is the result of a two-year study of advertising of Nike athletic shoes. The effort was supported in part by a grant from Nike, Inc. Thirty-one oral history interviews were conducted with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy. A variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that documents, in print and electronic media, the history and development of the company and its advertising campaigns.
Scope and Contents:
This collection consists of thirty-one oral history interviews conducted by historian Scott Ellsworth with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy and related materials collected by the Center for Advertising History staff. There are audiocassettes (original and reference), 1/4" open reel audiotape (master), 3/4" videotapes, and VHS videotapes.
Arrangement:
The collection is rganized into seven series.

Series 1, Research Files, 1979-1992

Subseries 1.1, Materials Compiled by the Center for Advertising History, 1979-1992

Subseries 1.2, Material Compiled by Nike, 1982-1992

Series 2, Interviewee Files, 1990-1992

Series 3, Oral History Interviews, 1990-1992

Subseries 3.1, Original Audiotapes (audio cassette), 1990-1992

Subseries 3.2, Researcher copies (audio cassette), 1990-1992

Subseries 3.3, Preservation masters (1/4 inch audiotape), 1990-1992

Series 4, Television Commercials, 1977-1990 and undated

Subseries 4.1, Master Copies, 1977-1990 and undated

Subseries 4.2, Researcher copies, 1977-1990 and undated

Series 5, Print Advertisements, 1985-1993

Subseries 5.1, Ad Slicks, 1985-1993

Subseries 5.2, Slides, 1989 and undated

Series 6, Trade Catalogues and Photographs, 1958-1982

Series 7, Administrative Files, 1982-1990
Biographical / Historical:
The Nike Advertising Oral History and Documentation Collection is the result of a two-year study of advertising of Nike athletic shoes. The effort was supported in part by a grant from Nike, Inc. Thirty-one oral history interviews were conducted with advertising, marketing and product development executives at Asics, Nike, John Brown & Co., Chiat/Day/Mojo and Wieden & Kennedy. A variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that documents, in print and electronic media, the history and development of the company and its advertising campaigns.

The consistently high quality of this advertising, its award-winning artistic and creative innovations, and its contribution to the fitness movement in America combine to make this a significant chapter in the history of contemporary American advertising.

One aim of the project was to record the process of decision-making in the creation of successful ad campaigns, a process not often documented in the surviving records. Topics addressed in the oral history interviews include the origins of Nike and Nike advertising, the relationship between corporate culture and advertising, the place of advertising in overall marketing strategy, the development of brand image and identity, the nature of the creative process in producing effective advertising images, the use of athletes as endorsers, and Nikes'simpact on the popular culture. Well-known campaigns are examined in depth, including Nikes's, use of the Beatles tune "Revolution", the "I Love L.A Spots" produced in conjunction with the 1984 Olympics, the controversial billboards campaign, the award-winning "Bo Knows" spots, and a series of commercials directed by African-American filmmaker Spike Lee. The collection is also a rich source of visual imagery for researchers interested in the portrayal of athletes, women and African-Americans.
Related Materials:
Materials in the Archives Center

Alka-Seltzer Documentation and Oral History Collection, 1953-1986 (AC0184)

N. W. Ayer Advertising Agency Records, 1849-1851, 1869-1996 (AC0059)

Campbell Soup Advertising Oral History and Documentation Project, 1904-1989 (AC0367)

Cover Girl Make-Up Advertising Oral History and Documentation Project, 1959-1990 (AC04374)

Federal Express Oral History and Documentation Project Collection, 1972-1987 (AC0306)

Caroline R. Jones Collection, circa 1942-1996 (AC0552)

Marlboro Oral History and Documentation Project, circa 1926-1986 (AC0198)

Pepsi Generation Oral History and Documentation Collection, 1938-1986 (AC0092)

Rob and Julie Strasser Collection, 1970-1990 (AC0525)
Provenance:
The collection was donated by Nike, Inc. in 1991 and 1992.
Restrictions:
The collection is open for research use.
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:
Women in the advertising industry  Search this
Sports for women  Search this
Sports  Search this
Women in advertising  Search this
Television advertising  Search this
Signs and signboards -- 1970-2000  Search this
Slogans  Search this
Marketing  Search this
Music in advertising  Search this
Commercial art  Search this
Endorsements in advertising  Search this
Broadcast advertising  Search this
Business -- History  Search this
Basketball  Search this
advertising -- History  Search this
Track and field  Search this
Copy writers  Search this
Athletes  Search this
Shoes -- 1970-2000  Search this
Motion picture producers and directors  Search this
African American athletes  Search this
Running -- 1970-2000  Search this
Running shoes -- 1970-2000  Search this
Athletic shoes -- 1970-2000  Search this
Shoe industry -- 1970-2000  Search this
Genre/Form:
Oral history
Videotapes
Tear sheets
Clippings
Audiotapes
Fliers (printed matter)
Advertising fliers
Commercials
Interviews -- 1970-1990
Citation:
Nike Advertising Oral History and Documentation Collection, 1958-1992, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0448
See more items in:
Nike Advertising Oral History and Documentation Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0448
Online Media:

Fred/Alan MTV Network Advertising Collection

Creator:
Ha! Comedy Network.  Search this
Goodman, Alan  Search this
VH-1.  Search this
Nickelodeon.  Search this
Seibert, Fred  Search this
MTV Network.  Search this
Fred/Alan, Inc.  Search this
Extent:
4 Cubic feet (15 boxes)
Container:
Box 7
Box 8
Type:
Collection descriptions
Archival materials
Photographs
Tear sheets
Slides (photographs)
Date:
1981-1992
Summary:
Collection contains advertsing and promotional materials primarily created by the Fred/Alan Advertising Agency, 1981-1992, for the MTV Network. Also advertising and promotional materials for Nickelodeon, Nick at Nite, VH-1 and Ha! Comedy Networks.
Scope and Contents:
The collection consists of advertising and promotional materials created by the Fred/Alan advertising agency between 1981 and 1992 for the MTV network, which includes Music Television, Nickelodeon, Nick at Nite, VH-1, and Ha! Comedy Network. Also included are advertising and promotional material for the Disney Channel, the Movie Channel, Showtime, Home Box Office and other Fred/Alan clients including Miller Beer, General Foods and Myers Rum. The materials demonstrate the intersection between American popular culture and advertising in several ways. First, because many of the advertisements were designed for trade publications of the cable television and advertising industries, they reveal some of the thinking behind the cable television industry's attempts to establish and stabilize its market during the 1980s, a decade which witnessed the emergence and spectacular rise of cable programming. Secondly, because MTV Networks began as a commercial proposition to attract a difficult-to-reach teenage audience and later, to capture the baby boom generation, the collection also provides evidence of the 1980s trend toward market segmentation. Finally, both in content and style, MTV Networks pioneered a new aesthetic which has had repercussions throughout American popular culture, and particularly in television programming and advertising.
Arrangement:
the collection is arranged into three series.

Series 1: Print Advertising and Promotional Material

Subseries 1.1: Music Television, 1981-1991

Subseries 1.2: Nickelodeon, 1988-1992

Subseries 1.3: Nick at Nite, 1987-1991

Subseries 1.4: Video Hits-1, 1987-1991

Subseries 1.5: Ha! Comedy Network, 1990-1991

Subseries 1.6: The Disney Channel, 1981

Subseries 1.7: The Movie Channel, 1982

Subseries 1.8: Fred/Alan and other clients, 1987-1989

Series 2: Videotaped Commercials

Series 3: Photographic Materials

Subseries 3.1: 2x2 color slides

Subseries 3.2: Still photos
Provenance:
Collection donated by Fred Seibert, President of the Fred/Alan advertising agency in New York City, February 15, 1992.
Restrictions:
Collection is open for research.
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:
Music in advertising -- 1980-2000  Search this
Motion picture producers and directors  Search this
Marketing -- 1980-2000  Search this
Humor in advertising -- 1980-2000  Search this
Copywriters  Search this
advertising -- 1980-2000  Search this
Television advertising -- 1980-2000  Search this
Sex in advertising -- 1980-2000  Search this
Genre/Form:
Photographs -- 1980-2000
Tear sheets -- 1980-2000
Slides (photographs) -- 1980-2000
Citation:
Fred/Alan MTV Network Collection, 1981-1982, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0453
See more items in:
Fred/Alan MTV Network Advertising Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0453
Online Media:

Oral history interview with Cheech Marin

Interviewee:
Marin, Cheech  Search this
Interviewer:
Franco, Josh T., 1985-  Search this
Names:
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
Extent:
7 Items (sound files (3 hr., 27 min.) Audio, digital, wav)
141 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2017 October 16-17
Scope and Contents:
An interview with Cheech Marin conducted 2017 October 17-18, by Josh T. Franco, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Marin's home, in Pacific Palisades, California.
Mr. Marin discusses growing up as a young Chicano in South Central Los Angeles and Granada Hills, California, and his early exposure to the liturgical art of the Catholic Church; his family's use of altars in their homes; his cousins and their independent studies as schoolchildren and his particular focus on art history and classical music; the discouragement by a teacher at at young age to pursue doing art work himself; his early collections of sports memorabilia and ephemera; his wife Natasha Rubin, the pianist, and his former wife Patti Heid, the painter, and his children; his initial interests in Chicano art and the beginnings of his art collecting in this field; the concept of rasquache, especially how it applies to Chicano art; the paintings of Carlos Almaraz; his time working with clay and pottery in college, and as an assistant to the ceramist Ed Drahanchuk. Mr. Marin also describes the work being done to create The Cheech Marin Center for Chicano Art, Culture and Industry in Riverside, California; the importance of the early centers around the country for Chicano art, including Corpus Christi and San Antonio, Texas; his work in film and television; his comedy partner Tommy Chong's interest in New Guinea art; his lecture tours about Chicano art; his assistant Melissa Richardson Banks; the organization of the touring exhibition Chicano Visions [2001-2007]; the potential of Riverside, California as a new mecca for art; the club scene in Hollywood, California in the '70s; his time living in Kennett Square, Pennsylvania and his exposure to the equestrian world; and the salons he and his wife Natasha have conducted in their home as a way to create interaction between Chicano artists and classical musicians. Mr. Marin also recalls Vincent Valdez; Steve Martin; Paul Thiebaud; George Yepes; Robert Berman; Alice Walton; Adán Hernández; Sonya Fe, as well as Stacy King; Belkis Ayón; John Russo; and Luis and Daniel Valdez, among others.
Biographical / Historical:
Cheech Marin (1946- ) is an actor, writer, director, and art collector in Pacific Palisades, California. Josh T. Franco (1985- ) is the National Collector, Archives of American Art, Smithsonian Institution, Washington, D.C.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is access restricted; written permission is required. Contact Reference Services for more information.
Topic:
Art -- Collectors and collecting -- California -- Interviews  Search this
Actors -- California -- Interviews  Search this
Authors -- California -- Interviews  Search this
Motion picture producers and directors -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.marin17
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marin17

Oral history interview with Tony Ganz

Interviewee:
Ganz, Tony  Search this
Interviewer:
Drohojowska-Philp, Hunter  Search this
Names:
Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection  Search this
D. Lisner Jewelry  Search this
Harvard University -- Students  Search this
Bonin, Ted  Search this
Bontecou, Lee, 1931-  Search this
Deitsch, Jeffrey  Search this
Fries, Charles W., 1928-  Search this
Ganz, Paul  Search this
Ganz, Sally  Search this
Ganz, Sol  Search this
Ganz, Victor  Search this
Hesse, Eva, 1936-1970  Search this
Lowry, Glenn D.  Search this
Marks, Matthew  Search this
Matta-Clark, Gordon, 1943-1978  Search this
Mutrux, Gail  Search this
Oldenburg, Claes, 1929-  Search this
Picasso, Pablo, 1881-1973  Search this
Smithson, Robert  Search this
Stella, Frank  Search this
Thek, Paul  Search this
Weinberg, Adam D.  Search this
Whiteread, Amber  Search this
Zwirner, David  Search this
d'Offay, Anthony  Search this
Extent:
4 Items (Sound recording: 4 sound files (2 hr., 4 min.), digital, wav)
41 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2014 December 6
Scope and Contents:
An interview with Tony Ganz conducted 2014 December 6, by Hunter Drohojowska-Philp, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at Ganz's home in Brentwood, California.
Ganz speaks of his parents, siblings, and early childhood; growing up in New York city; his family's collection and interest in art; collecting Picasso; going to museums and galleries as a kid; understanding Picasso; Putney School; his interest in photography and film; attending Harvard; making films; meeting his wife; beginning collecting; collecting drawings; building his collection; equity; Eva Hesse; Amber Whiteread; Gordon Matta-Clark; Moving to Beachwood Canyon; Robert Smithson; Paul Thek; Ted Bonin; Claes Oldenberg; Frank Stella; plan for his collection; following one's intuition; ones that got away; and friends in the art world. Ganz also recalls Victor and Sally Ganz, Paul Ganz, Sol Ganz, D. Lisner Jewelry, Chuck Fries, Gail Mutrux, Matthew Marks, Anthony D'Offay, Jeffrey Deitsch, Lee Bontecou, David Zwirner, Adam Weinberg, and Glenn Lowry.
Biographical / Historical:
Tony Ganz (1947-) is a film producer in Brentwood, California. Hunter Drohojowska-Philp is an art critic and writer from Beverly Hills, California.
General:
Originally recorded on 2 SD memory cards as 4 digital wav files. Duration is 2 hr., 4 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.
Occupation:
Filmmakers  Search this
Topic:
Motion picture producers and directors  Search this
Art -- Collectors and collecting  Search this
Photography  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.ganz14
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ganz14

Oral history interview with Charles Atlas

Interviewee:
Atlas, Charles, 1893-1972  Search this
Interviewer:
Yablonsky, Linda, 1948-  Search this
Names:
Visual Arts and the AIDS Epidemic: An Oral History Project  Search this
Extent:
3 Items (sound files (6 hrs., 54 min.), digital, wav)
213 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2016 May 31-June 1
Scope and Contents:
An interview with Charles Atlas conducted 2016 May 31-June 1, by Linda Yablonsky, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at Atlas' home and studio.
Biographical / Historical:
Charles M. Atlas (1949- ) is a video artist, film director, and lighting and set designer in New York, New York. Linda Yablonsky (1948- ) is a writer in New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
For information on how to access this interview contact Reference Services.
ACCESS RESTRICTED; Use requires written permission.
Occupation:
Set designers -- New York (State) -- New York  Search this
Video artists -- New York (State) -- New York  Search this
Topic:
AIDS (Disease) and the arts  Search this
Motion picture producers and directors  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.atlas16
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-atlas16

Linda Freeman papers

Creator:
Freeman, Linda, 1941-  Search this
Names:
L & S Video, Inc.  Search this
Bearden, Romare, 1911-1988  Search this
Lawrence, Jacob, 1917-2000  Search this
Pindell, Howardena, 1943-  Search this
Pippin, Horace, 1888-1946  Search this
Extent:
32.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Moving images
Documentary films
Date:
1971-2015
bulk 1990-2011
Summary:
The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.
Scope and Contents:
The papers of multimedia artist and filmmaker Linda Freeman measure 32.9 linear feet and date from 1971-2015, with the bulk of the material dating from 1990-2011. The collection primarily consists of the production archives of Freeman's video documentary production company L and S Video, producer of 27 short subject documentaries on contemporary American art and artists. Subjects include Emma Amos, Benny Andrews, Romare Bearden, Charles Burchfield, Elizabeth Catlett, Chuck Close, Robert Colescott, Jimmy and Max Ernst, Red Grooms, Jacob Lawrence, Richard Mayhew, Howardena Pindell, Horace Pippin, Faith Ringgold, and Betye and Alison Saar. Additional documentaries on subjects other than single artists include works on Luba artists of Central Africa, the creative process (on Freeman and five other artists featured in other documentaries in the collection), mixed media artists (on Alvin Loving, Flo Oy Wong, and Alison Saar), self-taught artists (on William Hawkins, Bill Traylor, and Grandma Moses), and a six-part series on art subjects for children called I Can Fly.

For each documentary, original, unedited footage shot by Freeman of artist interviews, studio footage, and interviews with subject experts is found, featuring curators, gallerists, collectors, and art historians speaking about the documentary subjects. In almost every case, significant original footage is found that was not used in the finished documentary and therefore unique to this collection, especially in the form of original interviews and studio footage.

Footage obtained from third-parties for use in the documentaries is found for several works including the Red Grooms, Luba, Crown Heights, and Romare Bearden documentaries. Notable among third-party material is a copy of Howardena Pindell's video performance work "Free, White, and 21" (1980). Also found are original footage and master material for "Pit Stop," a short fiction film by Robert Colescott, produced by Linda Freeman.
Arrangement:
The collection is arranged as 25 series, with most series representing the records of a single documentary production. Order of series is alphabetical by subject's last name, followed by titles for non-biographical works.

Media within series are typically grouped into three subseries: one for original, unedited footage and transcripts; one for production material, including media artifacts from intermediate stages of production and paper records of the production such as notes and drafts; and finally one for finished documentaries. Footage obtained from third-party sources is arranged with production material. Smaller series are arranged similarly but without formal subseries.

Audio and video tapes are housed separately from paper and digital records to facilitate access to both types of material. Also note that media are listed as items, which may be comprised of multiple tapes or single tapes, or multiple items on a single tape. As a result, physical folders may contain tapes from more than one item, and items can span multiple folders.

Series 1: Emma Amos: Action Lines (1996), 1991-2005 (1.3 linear feet; boxes 1-2, 28)

Series 2: Benny Andrews: The Visible Man (1996), 1991-2000 (1.2 linear feet; boxes 2, 28)

Series 3: Romare Bearden: Visual Jazz (1995), 1971-2000 (2.3 linear feet; boxes 3-4, 28, FC 34-36)

Series 4: Charles Burchfield's World (2004), 2004-2005 (0.3 linear feet; boxes 4, 28)

Series 5: Elizabeth Catlett: Sculpting the Truth (1998), 1998-2000 (1.3 linear feet; boxes 4-5, 28-29)

Series 6: Chuck Close: Close-up (2003), 2003-2006 (0.8 linear feet; boxes 6, 29)

Series 7: Robert Colescott: The One-Two Punch (1992), 1980-2005 (1.7 linear feet; boxes 6-8, 29, 33)

Series 8: "Pit Stop" by Robert Colescott (1995), 1995-1998 (1.1 linear feet; boxes 8, 29, FC 37-38)

Series 9: Jimmy and Max Ernst: Dada's Son (2005), 2005 (0.2 linear feet; boxes 8, 29)

Series 10: Red Grooms: Sculptopictoramatist (2008), 2008 (1.2 linear feet; boxes 9-10, 29)

Series 11: Jacob Lawrence: The Glory of Expression (1993), 1991-2007 (2.3 linear feet; boxes 10-11, 29, 32-33)

Series 12: Richard Mayhew: Spiritual Landscapes (2000), 1999-2000 (0.8 linear feet; boxes 11-12, 29)

Series 13: Howardena Pindell: Atomizing Art (1998), 1991-2005 (0.9 linear feet; boxes 12-13, 29)

Series 14: Horace Pippin: There Will Be Peace (1997), 1997-2000 (0.9 linear feet; boxes 13-14, 29-30)

Series 15: Faith Ringgold: The Last Story Quilt (1992), 1990-2007 (1.9 linear feet; boxes 14-15, 30, 33)

Series 16: Faith Ringgold Paints Crown Heights (1994), 1994-2005 (2.5 linear feet; boxes 15-17, 30, 33)

Series 17: Betye and Alison Saar: Conjure Women of the Arts (1994), 1990-2005 (2.3 linear feet; boxes 17-19, 30, 33)

Series 18: African Art, Women, History: The Luba People of Central Africa (1998), 1990-2000 (1.0 linear feet; boxes 19-20, 30)

Series 19: The Creative Process: Artists At Work (2011), 2006-2011 (0.3 linear feet; boxes 20, 30)

Series 20: I Can Fly Series, 1999-2011 (3.8 linear feet; boxes 20-23, 31)

Series 21: Mixed Media Masters (2008), 1991-2008 (1.0 linear feet; boxes 24, 31)

Series 22: School's Out: Self-Taught Artists (2001), 1995-2001 (1.1 linear feet; boxes 24-25, 31)

Series 23: Women in Their Studios: Jennifer Bartlett and Jackie Winsor (2006), 2005-2006 (0.6 linear feet; boxes 25-26, 31)

Series 24: Other Projects, 1988-2015 (1.6 linear feet; boxes 26-27, 31-32)

Series 25: L and S Video Records, 1990-2008 (0.5 linear feet; boxes 27, 32)
Biographical / Historical:
Linda Freeman(1941- ) is a multimedia artist and filmmaker in New York, New York. Freeman manages L and S Video (established 1987), a company that creates, produces, and distributes documentaries about American Artists.

In a lecture by Freeman at the Philadelphia Museum of Art in October 2000, she describes how she received training in filmmaking at New York University, and set out to create documentaries about contemporary artists who were both widely recognized as important artists and had not yet been the subjects of documentaries. Her first subject was Faith Ringgold, who she approached in 1990 for what would become Faith Ringgold: The Last Story Quilt. Freeman went on to produce 28 documentaries with director and writer David Irving featuring primarily living African American artists, but also women artists, self-taught artists, and mixed-media artists. The documentaries are based on extended interviews with the artists, studio footage of the artists working, and interviews with notable curators, dealers, critics, art historians, and other artists with expertise in the work and career of the subject at hand. Freeman included herself in the documentary The Creative Process: Artists at Work along with footage of other artists from her previous productions that had not been used in her finished works to date.

As an artist, Freeman has shown work in multiple traveling group exhibitions including "Women Call for Peace: Global Vistas," "Our Ancestors Quilt Project," "Women Only! In Their Studios," "Voices in Cloth: Story Quilts," and has had solo exhibitions at the Henry Gallery at Penn State Great Valley and SOHO20 gallery.
Provenance:
The collection was donated in 2015 by Linda Freeman, L and S Video.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The donor has retained all intellectual property rights, including copyright, that she may own.

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:
Multimedia artists -- New York (State) -- New York  Search this
Filmmakers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women motion picture producers and directors  Search this
Genre/Form:
Interviews
Moving images
Documentary films
Unedited footage
Citation:
Linda Freeman papers, 1971-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.freelind
See more items in:
Linda Freeman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freelind

Program Records

Topic:
Native Networks (Website)
Native Americans on Film and Video (Monograph)
Creator::
National Museum of the American Indian. Film and Video Center  Search this
Extent:
21.5 cu. ft. (21 record storage boxes) (1 document box)
Type:
Collection descriptions
Archival materials
Manuscripts
Clippings
Electronic images
Electronic records
Compact discs
Digital versatile discs
Floppy disks
Black-and-white photographs
Color photographs
Black-and-white transparencies
Color transparencies
Audiotapes
Videotapes
Date:
1977-2016
Descriptive Entry:
This accession consists of records that document the breadth and history of the programs and work of the FVC, including the NAFVF, film screenings, the Native Americans on Film and Video publications, and the Native Networks / Redes Indigenas website. Some materials date to when the before the National Museum of the American Indian as was a part of the Smithsonian and was known at the Museum of the American Indian, Heye Foundation.

Another project documented in the accession is Proyecto Audio-Visual Indigenista (PAVI), which was a project to survey individuals and organizations in twenty-six South and Central American countries who are knowledgeable about indigenous works on audio, film and video in their respective regions. The project was initiated to increase awareness of the media in Central and South America - who produces it, what types of works are available, how these works are used in relation to indigenous and non-indigenous communities - as well as to facilitate contact between indigenous producers and organization in Spanish and Portuguese speaking countries and funding, distribution, and producing organization in the United States and Europe.

Staff represented in the collection include Elizabeth Weatherford, Founder and Head, and Emelia Seubert, Assistant Curator. Materials include correspondence, memoranda, grant proposals, images, newsletters, programs, budget records, brochures, invitations, press releases, transcripts, survey records, retreat records, audience evaluations, permissions and releases, audio and video recordings, clippings, and other related records. Some materials are in Spanish as well as in electronic format.
Historical Note:
Created in 1979 within the former Museum of the American Indian, Heye Foundation in New York, the Film and Video Center (FVC) was the country's oldest media arts center for Native and indigenous film. The center was dedicated to promoting Native and indigenous filmmaking throughout the Americas and opening up new opportunities for Native film.

One of its major programs was the biennial Native American Film + Video Festival (NAFVF), which showcased new works of independent film and videomakers and Native American mediamakers, with a focus on current issues and contemporary life. The Festival ran from 1979 to 2011.

In addition to the NAFVF, the FVC also presented and supported a variety of film festivals. Starting in 2000 as a partnership with the Center for Contemporary Arts, the Native Cinema Showcase brought Native films and filmmakers to Santa Fe's Indian Market. Among the other festivals it participated in or supported are: the Pacifika Showcase; the D.C. Environmental Film Festival; First Nations/First Features: A Showcase of World Indigenous Cinema; the Agua Caliente Cultural Museum's Native FilmFest in Palm Springs, California; and Arizona State Museum's Native Eyes Film Festival in Tucson, Arizona.

FVC also hosted two film ongoing film series that showed feature-length films, followed by discussion: Dinner and a Movie in Washington, D.C., and At the Movies in New York. At each location there were regular daytime screenings for general audiences and frequent special programs. In Washington, films were shown several time a week that were geared towards families, educators, and students. In New York, daily screenings highlighted topics related to current exhibitions and important themes in contemporary Native American life. Also in New York, FVC presented Especially for Kids which was a daily morning program for children.

In addition the FVC published Native Americans on Film and Video (2 volumes) which serves as a compilation of primarily documentary films made by and about Native Americans. Not only do the volumes contain listings of video tapes and films, including general descriptions, production data, running times, production credits, language of the production, and distribution information; but also sections on special film collections across the country and additional resources.

Another project that the FVC worked on was developing the website, Native Networks / Redes Indigenas, which reflected the live meetings and workshops that the FVC organized for filmmakers attending the NAFVF.
Rights:
Restricted for 15 years, until Jan-01-2032; Transferring office; 06/23/2017 memorandum, Toda to Brill; Contact reference staff for details.
Topic:
Proyecto Audio-Visual Indigenista  Search this
Motion pictures  Search this
Film festivals  Search this
Motion picture producers and directors  Search this
Indians of North America -- Social life and customs  Search this
Video recordings -- Production and direction  Search this
Documentary videos  Search this
Indians of South America -- Social life and customs  Search this
Indians of Central America -- Social life and customs  Search this
Indians in motion pictures  Search this
Indians in popular culture  Search this
Museums -- Educational aspects  Search this
Indians of South America -- History  Search this
Indians of North America -- History  Search this
Indians of Central America -- History  Search this
Genre/Form:
Manuscripts
Clippings
Electronic images
Electronic records
Compact discs
Digital versatile discs
Floppy disks
Black-and-white photographs
Color photographs
Black-and-white transparencies
Color transparencies
Audiotapes
Videotapes
Citation:
Smithsonian Institution Archives, Accession 17-252, National Museum of the American Indian. Film and Video Center, Program Records
Identifier:
Accession 17-252
See more items in:
Program Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa17-252

Women of vision : histories in feminist film and video Alexandra Juhasz, editor

Author:
Juhasz, Alexandra  Search this
ProQuest (Firm)  Search this
Physical description:
1 online resource (xiii, 343 pages) illustrations
Type:
Interviews
Place:
United States
États-Unis
Date:
2001
Topic:
Women motion picture producers and directors  Search this
Feminist films  Search this
Productrices et réalisatrices de cinéma--Entretiens  Search this
Cinéma féministe  Search this
PERFORMING ARTS--Film & Video--Reference  Search this
BIOGRAPHY & AUTOBIOGRAPHY--Entertainment & Performing Arts  Search this
PERFORMING ARTS--Film & Video--Direction & Production  Search this
Call number:
PN1998.2 .W666 2001 (Internet)
Restrictions & Rights:
1-user
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1145020

Half past autumn : the life and works of Gordon Parks / Home Box Office Feature Documentaries presents ; a Mundy Lane Entertainment Production ; in association with Cartouche Entertainment and Chamba Mediaworks, Inc. ; directed by Craig Rice ; written by Lou Potter ; producers, Denzel Washington, St. Clair Bourne

Author:
Rice, Craig  Search this
Potter, Lou  Search this
Washington, Denzel 1954-  Search this
Bourne, St. Clair 1943-2007  Search this
Woodard, Alfre 1953-  Search this
Home Box Office (Firm)  Search this
Mundy Lane Entertainment (Firm)  Search this
Cartouche Entertainment (Firm)  Search this
Chamba Mediaworks  Search this
HBO Video (Firm)  Search this
Subject:
Parks, Gordon 1912-2006  Search this
Physical description:
1 videodisc (approximately 90 min.) : sound, color ; 4 3/4 in
Type:
Biography
Biographical television programs
Documentary television programs
Video recordings for the hearing impaired
Documentary
Date:
2006
2000
[2006]
Topic:
African American photographers  Search this
African American novelists  Search this
African American motion picture producers and directors  Search this
Call number:
video 001538
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1082866

Sisters of the screen [videorecording] : African women in the cinema / producer, Beti Ellerson

Author:
Ellerson, Beti  Search this
Faye, Safi  Search this
Maldoror, Sarah  Search this
Uriri, Prudence F  Search this
Women Make Movies (Firm)  Search this
Physical description:
1 videocassette (73 min.) : sd., col. ; 1/2 in
Type:
Videorecordings
Interviews
Place:
Africa
Date:
2002
Topic:
Women in the motion picture industry  Search this
Women in television broadcasting  Search this
Women motion picture producers and directors  Search this
Women television producers and directors  Search this
Call number:
PN1995.9.W6 S468 2002
video 000969
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_901656

Flaherty, Bryan, Grierson : three pioneers of the documentary film

Author:
Lee, Rohama  Search this
Iowa State University Library American Archives of the Factual Film  Search this
Subject:
Bryan, Julien Hequembourg  Search this
Flaherty, Robert Joseph 1884-1951  Search this
Grierson, John 1898-1972  Search this
Physical description:
[20] p. : ill. ; 29 cm
Type:
Books
Date:
1984
C1984
Topic:
Motion picture producers and directors--Biography  Search this
Documentary films  Search this
Call number:
PN1998.A2 L479 1984
PN1998.A2L479 1984
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_252927

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