The Koplin Gallery and Koplin Del Rio Gallery records measure 4.0 linear feet and date from 1972 to 2006. The records document the history of the galleries through photographic material, loan agreements, press releases, and other exhibition files for specific exhibitions, as well as exhibition catalogs, resumes, photographic material, and other materials on artists who have exhibited at the gallieries.
Scope and Contents:
The Koplin Gallery and Koplin Del Rio Gallery records measure 4.0 linear feet and date from 1972 to 2006. The records document the history of the galleries through photographic material, loan agreements, press releases, and other exhibition files for specific exhibitions, as well as exhibition catalogs, resumes, photographic material, and other materials on artists who have exhibited at the gallieries.
Exhibition files consist of inventories, loan agreements, press releases, and some photographic material for specific exhibitions held at the galleries. Some of the exhibitions include "Figure Heads & Red Herrings," "Drawings," "Eleven Former LA Artists Who Went to NY," and some of the annual International Contmeporary Art Fair files from 1986 to 1993. The "Figure Heads & Red Herrings" exhibition also contains video recording related to the exhibition.
Artist files were compiled for artists who have exhibited at the gallery. Some of the included materials in the files are resumes, photographic material, exhibition announcements and catalogs, and newspaper and magazine clippings. Some of the files also contain audio and video recordings of the artists. Some of the artists include Ida Applebroog, Sandow Birk, Joan Brown, Robert Conal, Minoko Grimmer, Martha Koplin, and Eleana Del Rio. Some of the files also contain material on the artists from before the gallery was founded.
Arrangement:
The collection is arranged into two series.
Series 1: Exhibition Files, 1982-2004 (0.6 linear feet; Box 1)
Series 2: Artist Files, 1972-2006 (3.4 linear feet; Boxes 1-4)
Biographical / Historical:
Koplin Gallery opened in West Hollywood, Calif. under the direction of Martha Koplin in 1982. In 1996, Eleana Del Rio became business partners with Koplin. In 2002, at Koplin's retirement, the name changed to Koplin Del Rio Gallery.
Provenance:
Donated 2007 and 2009 by Eleana Del Rio, gallery director and Martha Koplin, retired Koplin Gallery director.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Function:
Art galleries, Commercial -- California
Genre/Form:
Video recordings
Sound recordings
Citation:
Koplin Gallery and Koplin Del Rio Gallery Records, 1972-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Central States Anthropological Society (U.S.) Search this
Extent:
6.67 Linear feet (16 document boxes)
Note:
This collection is stored off-site. Advance notice must be given to view collection.
Type:
Collection descriptions
Archival materials
Date:
1922-2003
Summary:
This collection consists of the records of the Central States Anthropological Society and documents the activities of its officers. Also included is a manuscript history of the organization.
Scope and Contents:
These records document the history and activities of the Central States Anthropological Society. Materials include the constitution and by-laws, presidents' files, correspondence of other officers, secretary-treasurer reports, minutes of annual meetings and executive board meetings, manuscripts on the history of the society, publications, annual meeting programs, and photographs from annual meetings.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
Earlier accretions have been arranged in the following series: (1) History and Administrative Files; (2) Presidents' Files; (3) Secretary-Treasurers' Reports; (4) Minutes of Annual Business Meeting and Executive Board Meeting; (5) Correspondence; (6) Publications; (7) Awards; (8) Manuscripts; (9) Photographs.
Later accretions have not been processed.
Historical Note:
The Central States Anthropological Society (CSAS) was established as the Central Section of the American Anthropological Association (AAA), and it has informally been called the Central States Branch. Samuel A. Barrett led the creation of the new organization. The motivation was the difficulty for anthropologists of the central United States to attend AAA meetings, for the AAA had come to convene only in large northeastern or Middle Atlantic cities. The section's stated purpose was to promote "the cause of anthropology by means of a closer fraternization of the central states." "Central states" meant the entire region lying between the Appalachian and Rocky mountains. In fact, however, CSAS has been most successful and influential in the midwestern states.
The AAA approved the organization of the Central Section through a constitutional amendment adopted in December 1921. The section's constitution was adopted at its first meeting in 1922. It provided for two categories of membership—members who belonged to the AAA and associates who belonged to only the section. Both could vote and hold office. The constitution vested governance in an executive council made up of members elected to an executive committee together with the society's officers. The members of the executive committee itself were originally elected by a larger council, but the council was abolished in 1947. Since then the committee has been elected directly by the membership.
The original constitution provided for officers including a president, two vice presidents, a secretary-treasurer, and a corresponding secretary. The section failed to fill the latter office until 1952; and three years later the position was abolished as was the position of secretary-treasurer. Replacing them were two offices, a secretary and a treasurer. In 1957, the two offices were again combined as secretary-treasurer. In 1967, the officers came to include a newsletter editor and, in 1975, a proceedings editor. Both editors sat on the council as nonvoting members. The CSAS created other officers in 1975, including an immediate past president and a "student-liaison person," both of whom took places on the council. Also in 1975, the first vice president was designated to become the next president and the second vice president was designated to succeed the first vice president. (See Appendix A for a list of CSAS presidents.)
The main function of the Central Section has been the annual meeting. During the first few decades, these featured papers by many outstanding midwestern anthropologists. In keeping with the strong regional interest in archeology, the content was heavily archeological. This strong bent continued even after 1935 when many Central Section members joined the newly formed Society for American Archaeology (SAA). Until the 1950s, there was a strong connection between these two organizations, and they held joint meetings for many years. So strong was the connection, in fact, that the Central Section came to doubt its ability to hold a successful meeting on its own and feared that reduction of the archeological content of its programs would lead the archeologists to go off on their own and pull many section members along with them. Not until the SAA began to hold meetings outside the Middle West and the Central Section joined in meetings with other organizations did the Central Section strengthen its sociocultural interest, which has since become dominate. By 1951, the Executive Board of the AAA voted to accept the organization's official name change to Central States Anthropological Society.
A condition of the special relationship with the AAA was support for the American Anthropologist. In return, the AAA provided a service in collecting the regular AAA dues from section members and turning a portion over to the section. This arrangement continued until 1959, when the AAA began to keep its entire dues and collected an additional amount for the section. In 1967, the AAA announced that it could no longer continue to offer such services without compensation. At that point, the CSAS broke the relationship. By 1972, the AAA was again providing the society billing services for a fee. In 1985, the CSAS became a constituent society in the AAA reorganization.
The Central States Branch established its own publication program when, from 1946-1952, it issued a mimeographed newsletter called the Central States Bulletin. In 1966, CSAS began to issue the Central States Anthropological Society Newsletter. In 1973, it also began to publish the Central States Anthropological Society Proceedings, which, in 1978, became Central Issues in Anthropology. Other than for these publications, most reports of and announcements about the organization have appeared in the AAA publications.
During the 1950s and 1960s, the CSAS began efforts to promote improved graduate training. In 1953, it began to sponsor a Prize Paper Contest for students. In the 1960s, it surveyed regional graduate education and also explored possibilities for assisting with field training, lectures by visiting foreign anthropologists, and several other programs. In addition, special programs at annual meetings concerned education and teaching. The first of CSAS's two scholarship programs, the Leslie A. White Memorial Fund, was established in 1983 to support research in any subfield of anthropology by "young scholars" ("young," not in chronological years, but in the sense of new to the discipline). In 1989, a second award, the Beth W. Dillingham Memorial Fund, was set up expressly to provide assistance to young scholars who are responsible for the care of dependent children while pursuing anthropological research. Today, the CSAS remains dedicated to fostering anthropological scholarship and professionalism through its meetings and publications.
Further information about the history of CSAS can be found on the official website at http://www.aaanet.org/csas/.
Source
Guide to the National Anthropological Archives, Smithsonian Institution, Revised and Enlarged, by James R. Glenn, 1996; with amendments, 2012 by Pamela Effrein Sandstrom.
Related Materials:
The records of the American Anthropological Association, the parent association of the Central States Anthropological Society, are held at the National Anthropological Archives.
Provenance:
These papers were deposited at the National Anthropological Archives by the Central States Anthropological Society archivists.
Restrictions:
Materials relating to CSAS award applicants and selected correspondence from 1976-77 are restricted until 10 years after the death of the correspondents. Computer disks are restricted due to preservation concerns.
Access to the Central States Anthropological Society records requires an appointment.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art, Smithsonian Institution, holds the intellectual property rights, including copyright, to all materials created by Robert Smithson and Nancy Holt with the exception of the following items: two holiday cards found in box 11, folders 22-23. For these two items, copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Smithson and Nancy Holt papers, 1905-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and the Alice L. Walton Foundation.
6.58 cu. ft. (6 record storage boxes) (1 tall document box)
Type:
Collection descriptions
Archival materials
Manuscripts
Black-and-white photographs
Exhibition catalogs
Brochures
Pamphlets
Newsletters
Date:
1916, 1922, 1929-1930, 1946-1984
Descriptive Entry:
These records document the opening of the National Collection of Fine Arts and the National Portrait Gallery in the Patent Office Building in 1968. Included are press
kits; photographs; development files; pamphlets of the opening; catalogs from the Henry Ward Ranger exhibition, 1929-1930; an annotated copy of Catalog of Collections,
volume I, 1922, by William Henry Holmes; and minutes of the Smithsonian Art Commission, 1963-1964. There is also one folder devoted to the bequest of Reverend Bruce Hughes
of Lebanon, Pennsylvania, to establish the "Hughes Alcove" and fund efforts to amass "a reference library of art works" for study.
Also included are newsletters, library count sheets, policies, minutes of meetings, surveys, a variety of reports, brochures, volunteer and internship information, and
other records. Some materials date to when the museum was known as the National Gallery of Art.
Historical Note:
The Fine Arts and Portrait Gallery Library was established in 1965 as a joint operation of the National Collection of Fine Arts (NFCA) and the National Portrait Gallery
(NPG) and was originally housed in the Arts and Industries Building. In 1968, the two museums moved into the newly-renovated Old Patent Office Building, renamed the Fine Arts
and Portrait Gallery Building, where the Library continued as before. In 1980, the Library became the National Museum of American Art and Portrait Gallery Library (AA&PG)
as a result of the name change.
William B. Walker was hired as Librarian in 1965 and held that position until 1979. Katherine Ratzenberger was named Acting Librarian in 1980 followed by Acting Librarian
Susan Gurney in 1981. Cecilia H. Chin served as Librarian of AA&PG Library, 1982- .
Family and professional correspondence; exhibition and sales records; sketches; sketchbooks; photographs and printed materials documenting the career and activities of Alexander James.
A marriage certificate; a genealogy of the James family; autobiographical notes; passports for James and his wife Frederika Paine James; a diary with entries by both James (1907) and his mother (1921); loose pages from diaries kept by James and his wife (intermittent, 1917-1939). Correspondence to and from James family members, including eight letters from his father, William James; letters to and from colleagues, friends, museums, galleries, clients, and posthumous exhibition correspondence. Correspondents include Abbott Handerson Thayer, Rockwell Kent, and Eric Gugler.
There are also biographical notes on Abbott Handerson Thayer; a notebook containing James' description of his gesso techniques; Frederika James' notes on her husband's paintings and her account of a family trip to France; reminiscences of James by Barry Faulkner and Thornton Wilder; exhibition files containing correspondence, lists of works, address lists, guest books, clippings and catalogs (1937-1978); commission files; a card file with information on James' paintings, exhibitions and sales; sketches of landscapes and people including sketches of his father and John Singer Sargent.
Five sketchbooks (one too faint to film); an oil study of his father; three watercolors of Giverny, France; three pigment studies (unfilmed); 12 woodcuts by Julius J. Lankes; and a sketch of James by his brother, William James; expense journals; bank records; tax returns; insurance figures for paintings; a notebook of sales' records; price lists; invoices and receipts for materials; deeds; a will; certificates of name changes; photos of James, his studio and his work; photos and a photo album of William James and other family members; two albums of exhibition photos; photos of two sketches of James, one by John Singer Sargent, and the other by Barry Faulkner.
Arrangement:
Reels 4195-4201: I. Biographical materials. II. Family correspondence. III. General correspondence. IV. Writings. V. Exhibition files. VI. Commission files. VII. Card file. VIII. Art works. IX. Financial materials. X. Legal materials. XI. Photographs. XII. Photograph albums. XIII. Printed materials. Chronologically arranged except for commission files which are arranged alphabetically by name of subject.
Biographical / Historical:
Portrait painter. The younger son of psychologist William James (1842-1910), brother of painter William James (1882-1961), and nephew of novelist Henry James, Alexander James was actually christened Francis Temple Tweedy James in 1890. In 1925 he had his name officially changed to Alexander Robertson James. Later in life he dropped the Robertson and became Alexander James. He studied with Abbott Handerson Thayer and was a close friend of John Singer Sargent and Rockwell Kent.
Related Materials:
Also found in the Archives on microfilm only (reel 3828) is a bound volume containing 37 letters from William James to his youngest son, Alexander James, one letter from his mother, Alice Howe Gibbens James, and 11 postcards.
Provenance:
Donated 1986 by Michael James, the son of Alexander James, except for the bound volume on reel 3828 which was lent for microfilming.
Rights:
Reel 3828: Authorization to publish, quote, or reproduce requires written permission from Alexander R. James, Glandore, County Cork, Ireland. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
