Festival Recordings: Basketry Narrative Stage: Access to Resources in Alaska (June Pardue, Teri Rofkar, Evelyn Douglas, Kurt Dewhurst- presenter); A Family Tradition: Navajo Weavers (Mary Black, Sally Black, Kayla Black, Lorraine Black, Carol Edison- p...
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
2006 July 2
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2006 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
At each annual Festival, Native Americans brought their traditional cultures to the National Mall. The 1972 Indian presentation focused on tribes from the southwestern region of the United States. Visitors could see various examples of the lifestyles and crafts of Pueblo, Navajo, and Apache tribes from Arizona and New Mexico, and meet some seventy-five members of these tribes. "Museum Guide" signs invited comparison of the Festival's view with the exhibits of American Indian artifacts and lifestyles in the National Museum of Natural History.
As in previous years, participants were carefully selected through a continuing fieldwork program. Important criteria in their selection were a knowledge of their tribe and their skills in a particular artistic area. The fieldwork that went into the Indian participation at the Festival sought out people who could best represent the Iiving aspects of Indian culture. A potter was invited to the Festival because there was stiII a demand for Pueblo-made pottery, for instance, not because pottery was something Indians used to do in the past. There were dancers on the Mall, not because that was the visible and best-known image of Indians, but because the dancers and songs continued to play a vital part in Indian life today.
Clydia Nahwooksy served as Indian Awareness Program Director and Tom Kavanagh as Program Assistant. The program was sponsored by the U.S. Department of Commerce and Americans for Indian Opportunity.
Participants:
Joselita Ray, 1901-, Acoma, potter, Acomita, New Mexico
Edwin Declay, Apache, dancer, White River, Arizona
Lonnie Ethlbah, Apache, dancer, White River, Arizona
Matthew Ethlbah, Apache, dancer, White River, Arizona
Paul Ethlbah, Apache, singer, White River, Arizona
Carol Gatewood, 1955-, Apache, discussant, McNary, Arizona
Daisy Johnson, 1904-1983, Apache, basket maker, White River, Arizona
Eva Paxson, Apache, bead worker
Edgar Perry, Apache, discussant, Fort Apache, Arizona
Colin Tessay, Apache, dancer, White River, Arizona
Bernard Dawahoya, 1936-2010, Hopi, silversmith, Second Mesa, Arizona
Edwin Kaye, Hopi, katchina doll carver, San Juan Pueblo, New Mexico
Alice Sekaquaptewa, Hopi, piki bread maker
Abbott Sekaquaptewa, Hopi, discussant
Evangeline Talaftewa, Hopi, basket maker
Wilson Williams, Hopi, weaver
Elenore Abeita, Isleta, bread baker, Isleta Pueblo, New Mexico
Carlotta Juancho, Isleta, bread baker, Isleta Pueblo, New Mexico
Juana Marie Pecos, 1922-, Jemez, embroidery worker, Jemez Pueblo, New Mexico
Ann Dailey, Laguna, dancer, Laguna Pueblo, New Mexico
Elizabeth Fox, Laguna, dancer, Laguna Pueblo, New Mexico
Chris Luther, Laguna, dancer, Laguna Pueblo, New Mexico
Donald Montoya, Laguna, discussant, Laguna Pueblo, New Mexico
Gerald Pedro, Laguna, dancer, Laguna Pueblo, New Mexico
Patricia Pino, Laguna, dancer, Laguna Pueblo, New Mexico
David Ruben, Laguna, singer, Laguna Pueblo, New Mexico
Ada Bluehouse, Navajo, weaver, Window Rock, Arizona
Jordon Hattie, 1951-, Zuni, singer, Zuni, New Mexico
Kathline Hattie, 1953-, Zuni, dancer, Zuni, New Mexico
Randolph Lalio, 1952-, Zuni, dancer, Zuni, New Mexico
Robert Tsabetsaye, 1920-1980, Zuni, silversmith, Zuni, New Mexico
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1972 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The papers of New York tapestry éditeur Gloria Ross measure 14.5 linear feet and date from circa 1924-1998. The bulk of the papers consist of project files that document her collaborations with artists to make tapestries of their paintings and collages. Also found are scattered biographical material, professional correspondence, exhibition files, professional activity files, personal business records, printed material, photographs, and artwork.
Scope and Contents:
The papers of New York tapestry éditeur Gloria Ross measure 14.5 linear feet and date from circa 1924-1998. The bulk of the papers consist of project files that document her collaborations with artists to make tapestries of their paintings and collages. Also found are scattered biographical material, professional correspondence, exhibition files, professional activity files, personal business records, printed material, photographs, and artwork.
Biographical material includes resumes and career summaries, as well as an interview of Ross on one videocassette, and a few Frankenthaler family documents. Correspondence is with artists, weavers, workshops, publications, and galleries and is of a professional nature.
Project files document Ross's collaborations with prominent artists such as Helen Frankenthaler, Robert Motherwell, Romare Bearden, Louise Nevelson, Milton Avery, Stuart Davis, and others. Project files may include correspondence, contracts, invoices, notes, photographs, yarn samples, and a few maquettes and cartoons. Also of note are extensive files regarding her collaborations with Navajo weavers to create tapestries based on geometric paintings by Kenneth Noland. Other project files include a commissioned tapestry for Temple Emanu-El in New York.
Exhibition files document various solo and group exhibitions of Gloria Ross tapestries and includes one videocassette from a 1978 exhibition. Records of her professional activities include her participation in symposia, lectures, and public events. Files may include correspondence, draft lectures, programs, and event publicity. Two short documentaries found on two videocassettes were produced for the Denver Art Museum. Personal business records document Ross's business relationships with weaving workshops and art galleries, most notably Atelier Raymond Picaud, Pinton atelier, Edinburgh Tapestry Company (Dovecot Studios), and Pace Editions, the major sales agent of Gloria Ross tapestries.
Printed material consists of catalogs, announcements, press releases, and other publications regarding exhibitions of Gloria Ross tapestries and Navajo tapestries. Photographs depict Ross, the Frankenthaler family, Ross's tapestries, weaving studios, and Navajo weavers. Artwork includes one painting by Paul Jenkins and unidentified textile and yarn samples.
Arrangement:
This collection is arranged as 9 series.
Missing Title
Series 1: Biographical Material, circa 1926-1998 (5 folders; Box 1)
Series 2: Correspondence, 1965-1998 (0.7 linear feet; Box 1)
Series 3: Project Files, 1960-1998 (7.3 linear feet; Boxes 1-7, 14-15, 17-19, OVs 20, 22-24, Artifact)
Series 4: Exhibition Files, 1967-1994 (0.8 linear feet; Boxes 7-8, 17)
Series 5: Professional Activities, 1955-1997 (0.7 linear feet; Box 8)
Series 6: Personal Business Records, 1964-1998 (1.8 linear feet; Boxes 8-10, OV 21)
Series 7: Printed Material, 1970s-1990s (0.8 linear feet; Boxes 10-11, 14)
Series 8: Photographs, circa 1924-1990s (1.1 linear feet; Boxes 11, 16)
Series 9: Artwork, circa 1970s-1990s (1.1 linear feet; Boxes 11-14, 17, 19)
Biographical / Historical:
Gloria F. Ross (1923-1998) was a tapestry éditeur in New York, New York.
Ross was born Gloria Frankenthaler in New York in 1923. She graduated from Mount Holyoke College in 1943 and married Alfred Ross. They had three children: Alfred, Beverly, and Clifford. In 1954, Gloria Ross made her first needlepoint work from a design by her sister, abstract painter Helen Frankenthaler, and by the mid-1960s, she was exhibiting her tapestries and hooked rugs in New York. She established Gloria F. Ross Studio in 1966 and began regularly collaborating with artists such as Robert Motherwell, Louise Nevelson, Jack Youngerman, and Jean Dubuffet to make their works into tapestries. She created business partnerships with weaving workshops in Scotland and France to produce the works. In 1973 she had her first exhibition at Pace Editions, Inc., beginning a long relationship with the gallery as her main sales agent.
In 1979, Ross first traveled to the Navajo Nation to find weavers for a collaborative project with artist Kenneth Noland. She continued to visit the Southwest at least once a year until 1994, and she donated her collection of Navajo rugs and other textiles to the Denver Art Museum. Throughout the 1980s Ross traveled extensively for projects, exhibitions, and symposia. Her final commissioned project, completed in 1997, was a tapestry designed by artist Mark Podwol for Temple Emanu-El in New York. That same year she established the Gloria F. Ross Center for Tapestry Studies in Tucson, Arizona.
Provenance:
Donated in 2013 by the Gloria Ross estate via Michael I. Katz, executor, with assistance from the Gloria F. Ross Tapestry Program, University of Arizona, via Ann Lane Hedlund, director.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Project files primarily document Ross's collaborations with prominent artists to create tapestries of their paintings. She worked with artists such as Helen Frankenthaler, Robert Motherwell, Romare Bearden, Louise Nevelson, Milton Avery, and Stuart Davis to create designs and selected weavers to translate the artworks into tapestries. She also oversaw commissions and sales of these works to individuals, corporations, and museums. Project files may include correspondence, contracts, invoices, notes, photographs, yarn samples, and a few maquettes and cartoons. Also of note are extensive files regarding her collaborations with Kenneth Noland, with whom she had the longest working relationship of any artist. Included is documentation regarding the Native/Noland series. For this series Ross worked with Navajo weavers to create tapestries based on Noland's geometric paintings. Researchers should note that a few files document project collaborations that were never realized.
Other project files found here include a commissioned tapestry for Temple Emanu-El in collaboration with artist Mark Podwal, as well as commissions for Mazza Gallerie, Phoenix Civic Center, and Westinghouse Broadcasting Company. Documents include correspondence, invoices, agreements, photographs, and notes. Files regarding a Vesti Corporation mostly contain legal records and correspondence regarding Gloria Ross's role in the project.
Arrangement:
This series is arranged as 2 subseries.
Missing Title
3.1: Artist Collaborations, 1960-1998
3.2: Other Projects, 1971-1997
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Gloria Ross papers, circa 1924-1998. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Gloria Ross papers, circa 1924-1998. Archives of American Art, Smithsonian Institution.
Personal photographs of Gloria Ross depict her as a child, on her wedding day, at an event with Gerald Ford, and with her sister Helen Frankenthaler. Also found are numerous photographs and color transparencies of Gloria Ross tapestries, including a few installation views, and Navajo tapestries donated and exhibited at the Denver Art Museum. Additionally, there are many polaroids of Navajo weavers and their tapestries and weavers working at the Pinton Atelier and Edinburgh Tapestry Company.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Gloria Ross papers, circa 1924-1998. Archives of American Art, Smithsonian Institution.
Comprehensive index of Charles Lang Freer's library, mostly relating to art and Asian culture. Headings include authors, countries, and topical subjects. Sections include locations in Freer's original Detroit home; an index of all books transferred to the Smithsonian; a list of collections and collectors catalogues of American and Near and Far Eastern art; sales catalogues, and books in Chinese language.
Arrangement:
Organized in the original manner by the creator.
Local Numbers:
FSA A.01 05.22
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Museum of the American Indian, Heye Foundation Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957 Search this
Container:
Box 262A, Folder 3
Type:
Archival materials
Date:
1928 - 1968
Restrictions:
Image number 011 "Holiday Handcraft" has been removed from the slideshow due to culutral sensitivity.
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Indians of North America -- Southwest, New Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
undated
Local Numbers:
NAA INV.02837700
Local Note:
Black and white photoprint
Place:
California -- San Francisco
Collection Restrictions:
Original nitrate negatives are in cold storage and require advanced notice for viewing. Modern copy prints and copy negatives for nearly all images are available.
Indians of North America -- Southwest, New Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
undated
Local Numbers:
NAA INV.02837800
Local Note:
Black and white photoprint
Place:
California -- San Francisco
Collection Restrictions:
Original nitrate negatives are in cold storage and require advanced notice for viewing. Modern copy prints and copy negatives for nearly all images are available.
