Search Results

Creator:

Ramsey, Frederic, 1915-1995  Search this

Extent:

8.83 Cubic feet

Type:

Collection descriptions

Archival materials

Place:

Southern States -- Music

Date:

1945-1959

Summary:

This collection contains open reel recordings made by noted jazz scholar Frederic Ramsey during his tour of the American South in the 1950s.

Scope and Contents:

The collection includes 400? Open reel audio tapes. They are from Ramsey's fieldwork and various projects, many for Folkways Records. The bulk of the recordings come from Ramsey's fieldwork in Alabama, Mississippi, and Louisiana in 1954-56.

Arrangement:

The tapes are organized and shelved by accession number.

Biographical / Historical:

Frederic Ramsey Jr. (1915-1995), son of painter Charles Frederic Ramsey, was a jazz scholar and author who worked with a number of musicians in the South and the New York/New Jersey area, notably Lead Belly. After receiving a Guggenheim Fellowship in 1953, Ramsey undertook a tour of the South in order to explore and document the African-American music environment. His goal was to record the speech and music of persons at least sixty years of age or older in an attempt to trace the evolution of the musical genre that would become jazz. Ramsey produced a number of recordings for the Folkways label in the 1950s-1960s.

[From Jeff: Frederic Ramsey Jr. (1915-1995) was a jazz critic, scholar, fieldworker and record producer. He was the author of a number of books on jazz, including Jazzmen (with Charles Edward Smith) and the Jazz Record Book. He became one of the main producers for Moses Asch at Asch, Disc, and Folkways Records of jazz and blues. Ramsey was one of the first to deploy an open reel tape recorder using it in New York City in 1949 to record Lead Belly in a set of sessions at his apartment, that were to be Lead Belly's last. What was noteworthy about this is that a reel to reel deck allowed one to record a longer recording than the previous 4 minutes on instantaneous discs. This allowed Led Belly to stretch out and do his extended rhymes and longer songs and to tell stories of his life. It was released by Folkways as a 2 LP 2-records each set. Each side was one track so more material could be fit in. The new LP format allowed for Folkways to create anthologies of music with multiple tracks per side. This allowed Ramsey the ability to create a 11-volume anthology of jazz in the early 1950s. It was the first of many anthologies for Folkways. He also received a Guggenheim fellowship in 1954-56 to go to Alabama, Mississippi, and Louisiana to record vernacular African American music. This included field hollers, spirituals, and brass bands. It was Ramsey's desire to find the roots of jazz in early African-American music forms. He recorded hundreds of tapes they make up the bulk of Ramsey Tape Collection. A 10 LP set Music from the South was released from these trips. Also, there was a book Been Here and Gone with his magnificent photographs from the trip. Other notable recordings released by Folkways include an interview album of Baby Dodds, a box set of shape-note singing, and recordings of a, then, teenaged Michael Hurley. In 1975, with other grant from the National Endowment for the Humanities and Ford Foundation, he researched the life of Buddy Bolden. After the death of Frederic Ramsey Jr., folklorist Kip Lornell arranged the donation of Ramsey's tape and record collection to the Smithsonian.]

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Related Materials:

Frederic Ramsey's personal papers are available at Rutgers University Institute of Jazz Studies.

Ramsey's photograph collection (many from the same field projects) can be found in the collections of the Hogan Jazz Archive at Tulane University.

Provenance:

This collection was donated by Frederic Ramsey's daughter Alida Porter in 1996.

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.

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.

Topic:

Blues (Music)  Search this

Music -- African-American  Search this

African American musicians  Search this

Jazz musicians  Search this

Jazz -- Louisiana -- New Orleans  Search this

Jazz  Search this

Citation:

Frederic Ramsey audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RAMS

See more items in:

Frederic Ramsey audio recordings

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5ebc883ed-96f3-4f1b-9e4b-1b8fde86e4f4

EDAN-URL:

ead_collection:sova-cfch-rams

Collection Creator:

Sanford, Marion  Search this

Container:

Box 2, Folder 4

Type:

Archival materials

Date:

1931-1965

Collection 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.

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:

Marion Sanford and Cornelia Chapin papers, 1929-1988. 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. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 2: Printed Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c42a69e6-a6e0-4897-b4b8-67b6fda80dca

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref28

Collection Creator:

Sanford, Marion  Search this

Container:

Box 3, Folder 8

Type:

Archival materials

Date:

1932-1939

Scope and Contents:

Oversized material housed in Box 5.

Collection 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.

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:

Marion Sanford and Cornelia Chapin papers, 1929-1988. 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. Funding for the preservation of the Cornelia Chapin Home Movies was provided by the National Film Preservation Foundation.

See more items in:

Marion Sanford and Cornelia Chapin papers

Marion Sanford and Cornelia Chapin papers / Series 4: Scrapbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a9794a3d-db3e-4c9e-b70b-1816b29b3f0b

EDAN-URL:

ead_component:sova-aaa-sanfmari-ref46

Creator:

Parrish, David, 1939-  Search this

Names:

French & Company (New York, N.Y.)  Search this

George C. Marshall Space Flight Center -- Officials and employees  Search this

Nancy Hoffman Gallery  Search this

University of Alabama -- Students  Search this

Eddy, Don, 1944-  Search this

Hoffman, Nancy  Search this

Janis, Sidney, 1896-1989  Search this

Meisel, Louis K.  Search this

Interviewer:

Williams, Bob  Search this

Extent:

3.1 Linear feet

Type:

Collection descriptions

Archival materials

Resumes

Essays

Interviews

Sketchbooks

Drawings

Photographs

Video recordings

Date:

1940-2009

bulk 1964-1998

Summary:

The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.

Scope and Content Note:

The papers of Alabama photorealist painter David Parrish measure 3.1 linear feet and date from 1940 to 2009, with the bulk of the material from 1964 to 1998. Parrish's career is documented through scattered biographical material; correspondence with galleries, publishers, art organizations, and friends; photographs of Parrish, his studio, and artwork; original artwork by Parrish and others; and printed material.

Biographical material consists of resumes, one folder of financial records, brief artist statements written by David Parrish, and two essays about Parrish's works written by others. Also included is a VHS video recording of an interview with Parrish conducted by Bob Williams in 1997 in conjunction with an exhibition.

Correspondence is primarily of a professional nature and pertains to Parrish's relationships with various galleries, publishers, and arts organizations. Of note is correspondence with galleries that represented Parrish's work including French & Company, Sidney Janis, Nancy Hoffman, and Louis K. Meisel, and correspondence with fellow artist Don Eddy. Also included is a small amount of personal correspondence with friends and family.

Photographs of David Parrish include one baby photo, official portraits, photographs of him in his studio, with family and friends, and at exhibition openings. Also found are photographs and slides of his artwork, including gallery installations and early photographs of the interior of Nancy Hoffman Gallery.

Artwork includes a sketchbook kept by Parrish while a student at the University of Alabama, several ink drawings produced during his employment as a technical illustrator at NASA's Marshall Space Flight Center, and a few sketches by others. Printed material includes exhibition catalogs, announcements, and posters, newspaper clippings, press packets, and other gallery publications documenting Parrish's career as an artist.

Much of the material in the collection includes recent annotations by Parrish describing his involvement with the projects and exhibitions, and identifying friends and colleagues.

Arrangement:

The collection is arranged as 5 series:

Missing Title

Series 1: Biographical Material, circa 1970-2000 (Box 1; 8 folders)

Series 2: Correspondence, 1964-2008 (Box 1, 5; 0.9 linear feet)

Series 3: Photographs, 1940, 1960s-2009 (Boxes 1-2, 5; 0.4 linear feet)

Series 4: Artwork, circa 1961-2002 (Boxes 2, 5; 5 folders)

Series 5: Printed Material, 1962-2009 (Boxes 2-4; 1.5 linear feet)

Biographical Note:

David Parrish (1939-) is a Photorealist painter living in Huntsville, Alabama.

Parrish was born in Birmingham, Alabama, and received his B.F.A. from the University of Alabama in 1961. He briefly moved to New York with plans to become a magazine illustrator, but was unable to find a permanent job. He moved to Huntsville, Alabama in 1962 and became a technical illustrator for Hayes International Corporation. Parrish continued painting at his home studio, moving away from the painting style he learned in school, and instead working on paintings derived from photographs. He left his job as a technical illustrator in 1971 and became a full-time painter. That same year he joined French & Company in New York as a gallery artist and had his first one-man show at Brooks Memorial Art Gallery in Memphis, Tennessee.

During the 1970s Parrish saw success as a first generation photorealist. He was represented from 1973 to 1976 by Sidney Janis Gallery, and then moved to Nancy Hoffman Gallery. In 1987 he joined Louis K. Meisel Gallery, and is still represented by them today. Parrish's motorcycle paintings became his early trademark, and during the late 1980s into the 1990s he painted complex, intricate porcelain still lifes of Marilyn Monroe, Elvis, and other pop culture icons. Parrish has shown his work in numerous group and solo shows, including many international shows, and is in the permanent collection of many museums.

Provenance:

The collection was donated by David Parrish in 2009.

Restrictions:

Use of original papers requires an appointment. Use of video recording 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.

Occupation:

Painters -- Alabama  Search this

Topic:

Artists' studios -- Photographs  Search this

Photo-realism  Search this

Genre/Form:

Resumes

Essays

Interviews

Sketchbooks

Drawings

Photographs

Video recordings

Citation:

David Parrish papers, 1940-2009, bulk 1964-1998. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.parrdavi

See more items in:

David Parrish papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97448e908-1331-4aa6-90a9-42a943a668e0

EDAN-URL:

ead_collection:sova-aaa-parrdavi

Collection Creator:

De Forest, Roy, 1930-2007  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

1972-2005

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Collection Citation:

Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.

See more items in:

Roy De Forest papers

Roy De Forest papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a74705a6-cd3f-4e99-ba60-fbc9f0831626

EDAN-URL:

ead_component:sova-aaa-deforoy-ref10

Creator:

Swanton, John Reed, 1873-1958  Search this

Artist:

McKenney & Hall  Search this

De Batz, A.  Search this

Le Moyne de Morgues, Jacques, 1533?-1588  Search this

Tidball, J. C.  Search this

Trumbull, John, 1756-1843  Search this

Names:

Catlin, George, 1796-1872  Search this

Le Page du Pratz, -1775  Search this

Romans, Bernard  Search this

Verelst, Willem (painter)  Search this

White, John (painter)  Search this

Extent:

80 Copy prints (circa)

Culture:

Indians of North America -- Southern States  Search this

Alabama Indians  Search this

Atakapa  Search this

Cherokee  Search this

Chickasaw  Search this

Chitimacha  Search this

Choctaw  Search this

Coushatta (Koasati)  Search this

Houma  Search this

Muskogee (Creek)  Search this

Natchez  Search this

Seminole  Search this

Timucua (archaeological)  Search this

Tunica  Search this

Type:

Collection descriptions

Archival materials

Copy prints

Paintings

Sketches

Photographs

Illustrations

Drawings

Date:

undated

Scope and Contents:

Photographs used to illustrate John Reed Swanton's "The Indians of the Southeastern United States" depicting American Indians of the Southeast and their dwellings, food preparation, and ceremonies.

Biographical note:

John Reed Swanton (1873-1958) was an ethnologist and ethnohistorian with the Bureau of American Ethnology (BAE) from 1900 until his retirement in 1944. Swanton spent his first few years at the BAE studying the Haida and Tlingit groups of the Pacific Northwest and Alaska, and published a number of significant articles on the language, ethnography, and folklore of Northwest Coast Indians. His focus then shifted to the American Indians of the Southeastern United States, where his interest remained for the rest of his career. In addition to conducting ethnographic fieldwork in the Southeast, Swanton studied extensively the history of the area in order to better understand its indigenous cultures and is considered a pioneer in the field of ethnohistory. During his career Swanton published numerous articles and several major works on Southeastern American Indians, including the reference work The Indians of the Southeastern United States (1946), a Bureau of American Ethnology Bulletin (No. 137).

Local Numbers:

NAA Photo Lot R87-2Q

Location of Other Archival Materials:

Additional photographs published in BAE Bulletin 137 can be found in the National Anthropological Archives in Photo Lot 80-39.

Photographs made by Swanton can be found in the National Anthropological Archives in Photo Lot 76 and the BAE historical negatives.

The National Anthropological Archives hold more than 200 manuscripts created or collected by Swanton, in the Numbered Manuscripts.

Objects collected by Swanton, including potsherds from various sites in Southeastern United States can be found in the Department of Anthropology in accessions 111748, 113252, 122679, 129788, 165802, and 062577.

Contained in:

Smithsonian Institution Bureau of American Ethnology photograph collections, undated

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Copy prints in this collection that represent photographs not held by the National Anthropological Archives are for reference only.

Topic:

Dwellings  Search this

Catawba Indians  Search this

Rites and ceremonies  Search this

Genre/Form:

Paintings

Sketches

Photographs

Illustrations

Drawings

Citation:

Photo Lot R87-2Q, John Reed Swanton photograph collection of illustrations for "The Indians of the Southeastern United States", National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.PhotoLot.R87-2Q

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3cf240fa7-fc87-4519-af13-9b6fe4253942

EDAN-URL:

ead_collection:sova-naa-photolot-r87-2q

Artist:

Christopher, William R, 1924-1973  Search this

Names:

Selma to Montgomery Rights March (1965 : Selma, Ala.)  Search this

Archer, Osceola  Search this

Crapo, Henry H.  Search this

French, Margaret  Search this

Howard, Charles, 1899-1978  Search this

King, Martin Luther, Jr., 1929-1968  Search this

Perlin, Bernard, 1918-  Search this

Tooker, George, 1920-2011  Search this

Von Mohrenschildt, Dimitri Sergius, 1902-2002  Search this

Extent:

8.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Motion pictures (visual works)

Sketches

Sketchbooks

Photographs

Date:

circa 1920s-circa 1973

Summary:

The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five short film reels containing amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.

Scope and Contents:

The William Christopher papers measure 8.2 linear feet and date from circa 1920s to circa 1973. Materials include biographical materials, correspondence, writings and notes, five diaries, subject/project files, printed materials, photographs, numerous sketches and eleven sketchbooks, and five reels of motion picture films, consisting of amateur footage of New York City. The subject/project files include correspondence, printed materials, and two additional diaries about Dr. Martin Luther King, Jr. and the 1965 civil rights march from Selma to Montgomery, Alabama.

Biographical materials include address books, annotated memorabilia, awards and certificates, curriculum vitae and resume materials, and identification materials. Correspondence is with friends and fellow artists, including actress Osceola Archer and Henry Crapo, galleries, and others. Writings and notes include eleven notebooks, miscellaneous undated notes and papers, annotated drafts and writings by William Christopher, and writings by others. There are five diaries written by William Christopher from the 1940s to the 1960s.

Subject files document miscellaneous projects in which Christopher was involved and/or interested, and include several about Dr. Martin Luther King, Jr. containing correspondence, printed material, and two diaries written by Christopher during his attendance of the Civil Rights march from Selma to Montgomery.

Scattered personal business papers concern artwork sold and loaned and personal finances. Printed materials include clippings, exhibition catalogs and materials, magazines and programs, and posters. Photographs are of William Christopher, Henry Crapo, Margaret French, Charles Howard, Bernard Perlin, George Tooker, male models and figures, furniture, landscapes, buildings, and artwork.

Christopher's papers include over one hundred sketches and watercolors, eleven sketchbooks, an artwork by Dimitri Von Mohrenshildt, and one sketch by George Tooker. Also found among the papers are five film reels made by Christopher for an unfinished project, containing footage of New York City cityscapes and street scenes.

Arrangement:

This collection is arranged as 10 series:

Missing Title

Series 1: Biographical Material, circa 1940s-circa 1973 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1947-circa 1973 (1.9 linear feet; Boxes 1-3)

Series 3: Writings and Notes, circa 1947-1970 (0.4 linear feet; Box 3)

Series 4: Diaries, circa 1940s-circa 1960s (0.2 linear feet; Boxes 3-4)

Series 5: Subject Files, 1943-1972 (0.7 linear feet; Boxes 4, 9)

Series 6: Personal Business Records, circa 1950-circa 1972 (0.3 linear feet; Box 4)

Series 7: Printed Material, circa 1950s-circa 1972 (1.4 linear feet; Boxes 4-5, 9, OV12)

Series 8: Photographs, circa 1920s-circa 1970s (0.7 linear feet; Boxes 6, 8, MGP 4)

Series 9: Artwork and Sketchbooks, circa 1940s-circa 1970s (1.6 linear feet; Boxes 6-8, OV10-11, 13-18)

Series 10: Unidentified Project, Motion Picture Films, 1961 (0.5 linear feet; FC 19-23)

Biographical / Historical:

William Christopher was a painter, art instructor, and Civil Rights activist living and working in New York, New Hampshire, and Vermont. He was born in Columbus, Georgia on March 4, 1924, and served in the U. S. Navy from 1941 to 1943.

Aided by grants and scholarships, Christopher studied in France at the Sorbonne, Academie Julian, and the Ecoles d'Art Americaines between 1946-1948. While there, he also studied with Ossip Zadkine. He returned to New York and studied with Amedee Ozenfant and Hans Hofmann between 1948 and 1950.

Christopher's painting was greatly influenced by his time spent in Paris and New York, and his later involvement with the Civil Rights movement, Dr. Martin Luther King, Jr., and the march in Selma in 1965. His first U. S. solo exhibition was in 1952 at the Roko Gallery in New York, and he exhibited widely in New York, Boston, Washington, D.C. at the Nexus Gallery, the Boston Arts Festival, the Corcoran Gallery of Art, Joan Peterson Gallery, Galeria Juana Mordo, and the Whitney Museum of American Art, among others. In 1964, Christopher was invited to present his paintings to Dr. Martin Luther King, Jr. during the presentation of Dr. King's papers to Boston University. This is where Christopher met King.

Christopher moved to Hartland, Vermont in 1960, with his partner painter George Tooker. He remained there for the rest of his life. Christopher died in 1973.

Provenance:

William Christopher donated his papers to the Archives of American Art in 1972.

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. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Glass plate negatives are housed separately and not served to researchers.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters  Search this

Topic:

Civil rights demonstrations -- Alabama -- Selma  Search this

Civil rights -- United States  Search this

Genre/Form:

Drawings

Diaries

Motion pictures (visual works)

Sketches

Sketchbooks

Photographs

Citation:

William Christopher papers, circa 1920s-circa 1973. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.chriwill

See more items in:

William Christopher papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c6db2fe7-e817-4205-9c2b-b8aee5f67755

EDAN-URL:

ead_collection:sova-aaa-chriwill

Creator:

Coleman, Floyd W., 1939-2018  Search this

Names:

Howard University. Department of Art  Search this

Spiral (Group of artists)  Search this

Catlett, Elizabeth, 1915-2012  Search this

Donaldson, Jeff, 1932-2004  Search this

Hines, Felrath, 1913-1993  Search this

Montgomery, Evangeline J.  Search this

Extent:

8.1 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1954-2017

bulk 1980s-2000s

Summary:

The papers of African American art historian, educator, and painter, Floyd Coleman, measure 8.1 linear feet and date from 1954 to 2017 with the bulk of the material dating from the 1980s to the 2000s. The collection contains biographical material; correspondence; writings, including drafts of essays and lectures; material related to his professional activities, including teaching files, files related to the National Conference of Artists, project files, and other files related to his professional life; artist and subject files; printed material; and a small amount of photographic material. The collection also contains audiovisual material and born-digital records.

Scope and Contents:

The papers of African American art historian and painter, Floyd Coleman, measure 8.1 linear feet and date from 1954 to 2017 with the bulk of the material dating from the 1980s to the 2000s. The collection contains biographical material, including contact lists, certificates, interviews, and resumes; correspondence with artists and other art historians, including Reginald Gammon, Jeff Donaldson, Bing Davis, and Tritobia Hayes Benjamin; and writings, including drafts of essays and lectures. Also included are materials related to Coleman's professional activities, including teaching files, files related to the National Conference of Artists (NCA), project files, and other files related to his professional life; artist and subject files, including files related to the Spiral artist group; printed material, including clippings, exhibition announcements and catalogs, conference materials, and other publications; and a small amount of photographic material. The collection also contains audiovisual material and born-digital records.

Arrangement:

This series is arranged as 7 series.

Series 1: Biographical Material, 1969-2012 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1975-2017 (Box 1; 0.6 linear feet)

Series 3: Writings, circa 1970s-circa 2015 (Boxes 1-3; 1.2 linear feet)

Series 4: Professional Activities, circa 1960s-2015 (Boxes 3-5; 2.7 linear feet)

Series 5: Artist and Subject Files, 1954-2016 (Boxes 5-7; 2.2 linear feet)

Series 6: Printed Material, 1968-2016 (Boxes 7-8, OV 9; 1 linear foot)

Series 7: Photographic Material, circa 1980s-2000s (Box 8, 2 folders)

Biographical / Historical:

Floyd Coleman (1939-2018) was an African American art historian, painter, and educator in Washington, D.C. He was the chair of the art department at Howard University and organized the James A. Porter Colloquium on African American Art.

Born in Sawyerville, Alabama, Coleman attended Alabama State College (now Alabama State University), where he studied under Hayward Oubre. He later earned a doctorate from the University of Georgia. Coleman taught at Clark College, Southern Illinois University Edwardsville, Jackson State University, and Howard University. His work has been exhibited at institutions such as the Montgomery Museum of Fine Arts, San Francisco Museum of Art, Mount Holyoke College, High Museum, Smithsonian Institution Art & Industries Building, Yale University Art Gallery, and Parish Gallery.

Provenance:

The collection was donated in 2019 by Floyd Coleman, Jr., Floyd Coleman's son.

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 Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- Washington (D.C.)  Search this

Art historians -- Washington (D.C.)  Search this

Educators -- Washington (D.C.)  Search this

Topic:

African American artists  Search this

African American painters  Search this

African American educators  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Genre/Form:

Interviews

Citation:

Floyd Coleman papers, 1954-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.colefloy

See more items in:

Floyd Coleman papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92a1c4ea3-f8cb-4ff6-886d-1e45882f40c8

EDAN-URL:

ead_collection:sova-aaa-colefloy

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Audiotapes

Contracts

Photographic prints

Audiocassettes

Negatives

Video recordings

Notes

Sound recordings

Plans (drawings)

Business records

Slides (photographs)

Memorandums

Correspondence

Videotapes

Digital images

Date:

July 1-4, 1967

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1967 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Fieldwork

Series 3: Photographs

Series 4: Audio

Series 5: Video

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1967 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.

For more information, see Smithsonian Folklife Festival records.

Introduction:

In 1966, Smithsonian Secretary S. Dillon Ripley engaged James R. Morris to serve as Director of Museum Services, soon to become a new Division of Performing Arts. Ripley charged Morris to develop a full program of performances on the National Mall - sound and light show, readings and concerts, films, live demonstrations, and special exhibitions. Morris, who had previously organized the American Folk Festival in Asheville, North Carolina, in 1963, proposed that the Smithsonian host a folk festival as the centerpiece of the outdoors activities. Through the Asheville festival, Morris had come into contact with key people involved in the Newport Folk Festival, among them Alan Lomax. It was Lomax who suggested that the Smithsonian hire Newport's then-director of field programs, Ralph C. Rinzler, to help plan a Smithsonian festival. The term "folklife", drawn from Scandinavian usage, was chosen over "folk" as the name of the new Festival.

The first Festival of American Folklife was held July 1-4, 1967 in two tents - one for crafts and one for sales - a music stage, and a performance area on the terrace of the Museum of History and Technology (later, the National Museum of American History). Fifty-eight traditional craftspeople and thirty-two musical and dance groups from throughout the United States demonstrated and performed at the first open-air event. Mountain banjo-pickers and ballad singers, Chinese lion dancers, Indian sand painters, basket and rug weavers, New Orleans jazz bands and a Bohemian hammer dulcimer band from east Texas combined with the host of participants from many rural and urban areas of the U.S. The entire event was free to the public, the expense of the production having been borne by the Smithsonian aided by numerous civic and cultural organizations, business enterprises and State Arts Councils.

The 1967 Festival drew a huge crowd - estimated at more than 400,000 - and strong interest from the press, Members of Congress, and Smithsonian leadership. In the Smithsonian's annual report for 1967, Ripley reflected on the success of the Festival:

Within - in the Museum - the tools, the products of craft work, the musical instruments hang suspended in cases, caught in beautifully petrified isolation. Without, for the space of a few hours they came alive in the hands of specialists from all over America.... It was a moving spectacle and one that underscored the principle that a museum, to be a museum in the best sense of the word, must live and breathe both within and without.

The 1967 Festival marked the inception of a fresh attempt at the evaluation, documentation and celebration of a hitherto unrecognized area of vigorous American expression. Concurrent with the first Festival, an American Folklife Conference was organized (with assistance from Henry Glassie) to address topics of American and international folklife studies, the relationship between folklife and history, applied folklife, and folklife in schools, museums, communities, and government agencies.

The Festival was organized by the Division of Performing Arts, under the direction of James R. Morris. Ralph Rinzler was the Applied Folklore Consultant and Festival Artistic Director, and Marian A. Hope was Project Assistant. No program book or schedule was published, but news articles, congressional remarks, letters from the public, and a list of participants were later compiled in lieu of a program book. That document can be viewed in Series 1.

Participants:

Crafts

Harry Belone, 1912-1986, Navajo sand painter, Arizona

Herman Benton, 1914-1994, scoop maker, New York

Mary Bowers, 1922-2002, Seminole patchwork, needlework, Florida

Marie Z. Chino, 1907-1982, Acoma pottery, New Mexico

Mildred Cleghorn, 1910-1997, Indian cloth dolls, Oklahoma

Maisy Coburn, apple face and corncob dolls, Arkansas

Margaret Coochwytewa, 1923-1995, Hopi, coil and yucca leaves basket maker, Arizona

Victor Coochwytewa, 1922-2011, Hopi silversmith, Arizona

Freedom Quilting Bee, Alabama

Taft Greer, 1908-1986, weaver, Tennessee

Joseph Grismayer, 1888-1970, willow basket maker, Pennsylvania

Dewey Harmon, 1900-1972, whittler, North Carolina

Bea Hensley, 1919-2013, blacksmith, North Carolina

Louise Jones, 1910-1973, coil basket making, South Carolina

Robert Keith, chair maker, North Carolina

Mrs. Robert Keith, chair maker, North Carolina

Norman Kennedy, 1934-, carder, spinner, weaver, Massachusetts

Clifford Lucas, Indian dolls, New Mexico

Lila Suzanne Marshall, 1908-1994, corn shuck dolls, North Carolina

Charles Mayac, 1906-1971, ivory carver, Alaska

Leo J. Meyer, scrimshaw carver, Maryland

Alice Merryman, 1906-2007, corn shuck dolls, Arkansas

Norman Miller, 1905-1972, southern pottery, Alabama

Mrs. Norman Miller, southern pottery, Alabama

Hazel Miracle, 1915-2001, apple face, corn shuck dolls, Kentucky

Homer Miracle, 1910-1980, hand-hewn bowls, carver, Kentucky

Ann Mitchell, corn shuck dolls, Maryland

Golda Porter, spinner, North Carolina

Edd Presnell, 1916-1994, dulcimer maker, North Carolina

Ambrose Roanhorse, 1904-1982, Navajo silversmith, Arizona

Garnet Claw Roanhorse, 1911-1999, Navajo rug weaver, Arizona

Georgianne Robinson, 1917-1985, Osage ribbon work, needlework, Oklahoma

Lou Sesher, 1915-1989, model boat builder, Pennsylvania

Genevieve Tomey, Osage ribbon work, needlework, Oklahoma

Elisia Trivett, rug hooker, North Carolina

Ora Watson, 1909-2004, quilting, North Carolina

Willard Watson, 1905-1994, toy maker, North Carolina

Music

The Baca Family Band, Czech-American polka music, Texas

Libba Cotten, Country guitarist, North Carolina, Washington, D.C.

Dejan's Olympia Brass Brand, New Orleans marching band, Louisiana

Jimmie Driftwood, Ozark ballad singer, Arkansas

First Maryland Regiment Fife and Drum Corps, martial music, Maryland

John Jackson, Songster and blues singer, Virginia

Bessie Jones (1902-1984) and the Georgia Sea Island Singers, shouts, jubilees, spirituals, and ring games, Georgia

Norman Kennedy, Scots ballad singer, Massachusetts

Clark Kessinger, 1896-1975, mountain fiddler, West Virginia

Vinice Lejeune (1919-1993) Group, Cajun band, Louisiana

The McGee Brothers with Sid Harkreader, String band, Tennessee

Sam McGee, 1894-1975

Kirk McGee, 1899-1983

Gene Meade, West Virginia

The Moving Star Hall Singers, shouts, jubilees, spirituals, and ring games, South Carolina

Glenn Ohrlin, cowboy singer, Arkansas

Grace Papakee, 1907-1982, Mesquakie Indian music, Iowa

John Papakee, 1895-1981, Mesquakie Indian music, Iowa

Billie Pierce (1907-1974) and De De Pierce (1904-1973) and the Preservation Hall Jazz Band, New Orleans jazz, Louisiana

Almeda Riddle, Ozark ballad singer, Arkansas

Scottish Pipe Band, highland marching music, Washington, D.C.

Wade Ward (1892-1971) and the Buck Mountain Band, mountain string band, Virginia

Yomo Toro Band, Puerto Rican music, New York

Ed Young (1910-1972), G.D. Young and Lonnie Young (1903-1976), African American fife and drum group, Mississippi

Young People's Chorus from the Scripture of Church of Christ, gospel, Virginia

Dance

Blue Ridge Mountain Dancers, cloggers, North Carolina

Chinese Lion Group, Washington, D.C.

Maurice Flowers, square dance caller, Maryland

Los Gallegos d'Espana, Galician dance, New York

Glinka Dancers, Russian dance group, New Jersey

Jochim Koyuk, King Island Eskimo dancer, Alaska

Mrs. Jochim Koyuk, King Island Eskimo dancer, Alaska

McNeff Dancers, Irish dancing with Ceilidh band, New York

Henry Paterick, square dance caller, Virginia

St. Andrews Society Group, Scottish dancing, Washington, D.C.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1967 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

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.

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.

Topic:

Folklore  Search this

Folk art  Search this

Folk festivals  Search this

Food habits  Search this

arts and crafts  Search this

Folk music  Search this

World music  Search this

Genre/Form:

Audiotapes

Contracts

Photographic prints

Audiocassettes

Negatives

Video recordings

Notes

Sound recordings

Plans (drawings)

Business records

Slides (photographs)

Memorandums

Correspondence

Videotapes

Digital images

Citation:

Smithsonian Folklife Festival records: 1967 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections , Smithsonian Institution.

Identifier:

CFCH.SFF.1967

See more items in:

Smithsonian Folklife Festival records: 1967 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk529e94ea3-000d-4513-b130-8a8ea3e935bd

EDAN-URL:

ead_collection:sova-cfch-sff-1967

Creator:

Little, John, 1907-  Search this

Guild Hall of East Hampton  Search this

Subject:

Parker, Elizabeth  Search this

Kiesler, Frederick  Search this

Parsons, Betty  Search this

Namuth, Hans  Search this

Hofmann, Hans  Search this

Hunter, Sam  Search this

Signa Gallery  Search this

Citation:

John Little papers, 1935-1978. Archives of American Art, Smithsonian Institution.

Topic:

Painting, Modern -- 20th century -- History -- New York (State) -- New York  Search this

Sculpture -- New York (State) -- New York  Search this

Decorative arts  Search this

Textile design  Search this

Theme:

Craft  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7896

(DSI-AAA_SIRISBib)210063

AAA_collcode_littjohn

Theme:

Craft

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210063

Artist:

Edouard Vuillard, French, b. Cuiseaux, 1868–1940  Search this

Medium:

Oil on canvas

Dimensions:

25 5/8 x 21 1/4 in. (65 x 54 cm)

Type:

Painting

Date:

(1890)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Marion L. Ring Estate, 1987

Accession Number:

87.32

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py24cd36e2f-b41a-44de-9d81-1dc130fa72c0

EDAN-URL:

edanmdm:hmsg_87.32

Creator:

Little, John, 1907-  Search this

Guild Hall of East Hampton  Search this

Names:

Signa Gallery  Search this

Hofmann, Hans, 1880-1966  Search this

Hunter, Sam, 1923-  Search this

Kiesler, Frederick  Search this

Namuth, Hans  Search this

Parker, Elizabeth, 1916-  Search this

Parsons, Betty  Search this

Extent:

0.2 Linear feet ((71 items))

Type:

Collection descriptions

Archival materials

Date:

1935-1978

Scope and Contents:

Correspondence, including letters from Sam Hunter, Hans Hofmann, Betty Parsons, Guild Hall, and Frederick Kiesler; clippings; correspondence; photographs of Little and his work; printed brochures, one which includes a large Hans Namuth photograph of Little; an exhibition catalog of Elizabeth Parker; and a clipping about the Signa Gallery.

Biographical / Historical:

Painter, sculptor, textile designer; born in Alabama, moved to New York; Attended Buffalo Fine Arts Academy, the Art Students League, studied with George Grosz, and at the Hans Hofmann School of Fine Arts. Taught at University of California, Berkeley and was treasurer of the Signa Gallery, which is located in East Hampton, New York. Little's preferred media are oils and bronze.

Provenance:

Donated 1980-1981 by John Little.

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:

Painters  Search this

Sculptors  Search this

Topic:

Painting, Modern -- 20th century -- History -- New York (State) -- New York  Search this

Sculpture -- New York (State) -- New York  Search this

Decorative arts  Search this

Textile design  Search this

Identifier:

AAA.littjohn

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b728e85b-7f16-41da-bcd5-40e05d945d45

EDAN-URL:

ead_collection:sova-aaa-littjohn

Artist:

Horace Pippin, American, b. West Chester, Pennsylvania, 1888–1946  Search this

Medium:

Oil on canvas

Dimensions:

18 x 33 1/8 in. (45.6 x 84.2 cm)

Type:

Painting

Date:

(c, 1939)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number:

66.4071

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Outsider Art

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py203a2af7d-fd7e-4394-bf75-5528cbadde07

EDAN-URL:

edanmdm:hmsg_66.4071

Edited by:

W.E.B. Du Bois, American, 1868 - 1963  Search this

Subject of:

The Crisis, American, founded 1910  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Illustrated by:

John Henry Adams Jr., American, 1880 - 1944  Search this

Written by:

Jessie Redmon Fauset, American, 1882 - 1961  Search this

Medium:

ink on paper with metal

Dimensions:

H x W: 9 3/4 × 6 3/4 in. (24.8 × 17.1 cm)

H x W (Open): 9 3/4 × 13 1/2 in. (24.8 × 34.3 cm)

Type:

magazines (periodicals)

Place printed:

New York City, New York, United States, North and Central America

Date:

March 1912

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Civil Rights  Search this

Education  Search this

Housing  Search this

Literature  Search this

Lynching  Search this

Mass media  Search this

Poetry  Search this

Race relations  Search this

Social life and customs  Search this

Social reform  Search this

Theatre  Search this

Theatre companies  Search this

U.S. History, 1865-1921  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2015.97.14.3

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Movement:

Anti-Lynching Movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5aa371455-85aa-4302-9581-84d672800cb6

EDAN-URL:

edanmdm:nmaahc_2015.97.14.3

Edited by:

W.E.B. Du Bois, American, 1868 - 1963  Search this

Subject of:

The Crisis, American, founded 1910  Search this

National Association for the Advancement of Colored People, American, founded 1909  Search this

Evaristo Estenoz Corominas, Cuban, 1872 - 1912  Search this

Written by:

Jessie Redmon Fauset, American, 1882 - 1961  Search this

Arturo Alfonso Schomburg, Puerto Rican, 1874 - 1938  Search this

Lafayette M. Hershaw, American, 1863 - 1945  Search this

Bertha Johnston, American, 1864 - 1953  Search this

Medium:

ink on paper with metal

Dimensions:

H x W: 9 7/8 × 6 7/8 in. (25.1 × 17.5 cm)

H x W (Open): 9 7/8 × 13 5/8 in. (25.1 × 34.6 cm)

Type:

magazines (periodicals)

Place printed:

New York City, New York, United States, North and Central America

Place depicted:

Cuba, Caribbean, Latin America, North and Central America

Missouri, United States, North and Central America

Hampton, Virginia, United States, North and Central America

Date:

July 1912

Topic:

African American  Search this

Advertising  Search this

Associations and institutions  Search this

Black Press  Search this

Business  Search this

Civil Rights  Search this

Education  Search this

HBCUs (Historically Black Colleges and Universities)  Search this

Literature  Search this

Lynching  Search this

Mass media  Search this

Poetry  Search this

Prisons  Search this

Race relations  Search this

Social life and customs  Search this

Social reform  Search this

U.S. History, 1865-1921  Search this

Women  Search this

Women's organizations  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture

Object number:

2015.97.14.4

Restrictions & Rights:

Public domain

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Published Works

Movement:

Anti-Lynching Movement

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd534363254-d746-4ad6-adcb-896037954478

EDAN-URL:

edanmdm:nmaahc_2015.97.14.4

Extent:

8.70 cu. ft. (9 document boxes) (7 12x17 boxes) (1 16x20 box)

Type:

Collection descriptions

Archival materials

Manuscripts

Date:

1846-1995

Descriptive Entry:

These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead. Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from 1907 to 1946 and can be useful.

Historical Note:

The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives; two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice since that time.

The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A. Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A. Wallace, William A. Wheeler, Henry Wilson.

Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White, William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.

Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell, Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin, Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey, Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull, Wallace H. White, Jr., Robert Enoch Withers.

Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth, Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton, Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce, Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R. Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.

Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings, John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley, John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton, Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson, Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.

Topic:

Museums -- Administration  Search this

Museum trustees  Search this

Genre/Form:

Manuscripts

Citation:

Smithsonian Institution Archives, Record Unit 1, Smithsonian Institution, Board of Regents, Minutes

Identifier:

Record Unit 1

See more items in:

Minutes

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-faru0001

Collection Creator:

Pollock, Jackson, 1912-1956  Search this

Krasner, Lee, 1908-1984  Search this

Container:

Box 7, Folder 14

Type:

Archival materials

Date:

1964-1983, undated

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Jackson Pollock and Lee Krasner papers, circa 1914-1984. 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.

See more items in:

Jackson Pollock and Lee Krasner papers

Jackson Pollock and Lee Krasner papers / Series 2: Lee Krasner Papers / 2.1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b0d8ec7-f1fe-4d08-b41c-2ba3d8d636e1

EDAN-URL:

ead_component:sova-aaa-polljack-ref235

Creator:

Qualls, Charles E., 1932-1984  Search this

Names:

Frederick Douglass Memorial Home  Search this

Public Schools of the District of Columbia  Search this

Collection Creator:

Dale, Dianne  Search this

Polk, P. H., 1898-1985  Search this

Extent:

1 Letter (2 pages, 10 1/2 x 8 inches.)

Container:

Box 12, Folder 18

Type:

Archival materials

Letters

Correspondence

Place:

Anacostia (Washington, D.C.)

Date:

1956 January 28

Collection Restrictions:

Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.

Collection Rights:

The Dale-Patterson Family collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

Civic leaders  Search this

Genre/Form:

Correspondence -- 20th century

Collection Citation:

Dale-Patterson Family collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Dianne Dale.

See more items in:

Dale-Patterson Family collection

Dale-Patterson Family collection / Series 2: Charles Qualls Papers / 2.2: Community Organizations / Coordinating Committee of Anacostia and Vicinity

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7c238bbcd-5768-4944-a50f-924d85adbb70

EDAN-URL:

ead_component:sova-acma-06-074-ref1029

Creator:

Nasisse, Andy S., 1946-  Search this

Names:

Bailey, E. M. (Eldren M.)  Search this

Carpenter, Miles B. (Miles Burkholder), 1889-  Search this

Carroll, Tessie  Search this

Damonte, Emanuel "Litto", d. 1985  Search this

Dinsmoor, Samuel Perry, 1843-1932  Search this

Doyle, Sam, 1906-1985  Search this

Ehn, John Henry, 1896-1981  Search this

Finster, Howard, 1916-2001  Search this

Forester, Laura Pope, 1873-1953  Search this

Hall, Dilmus, 1900-1987  Search this

Hall, Irene Gibson, ca. 1895-1983  Search this

Harvey, Bessie, 1929-  Search this

McKissack, Jeff, 1902-1980  Search this

Milkovitch, John, 1912-1988  Search this

Murry, J. B. (John B.), 1908-1988  Search this

Prisbrey, Tressa  Search this

Pugh, Dow, 1906-  Search this

Ratcliffe, W. T., 1882-1956  Search this

Rice, William Carlton, 1930-2004  Search this

Robertson, Royal  Search this

St. EOM, 1908-1986  Search this

Thomas, Son, 1926-1993  Search this

Tolliver, Mose, 1920-  Search this

Van Zant, Frank, 1911-1989  Search this

Zoetl, Joseph, 1878-1961  Search this

Extent:

0.8 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Video recordings

Date:

circa 1979-circa 1986

Summary:

The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.

The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.

Scope and Contents:

The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.

The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.

Biographical / Historical:

Andy Nasisse (1946-) is a ceramicist sculptor, potter, and former professor at the University of Georgia. Starting in the 1970s, he visited self-taught artists and photographed their art, environments and, in some cases, conducted interviews with them. He has had a solo exhibition at the Museum of Contemporary Art Georgia and is the recipient of the Art Regional Fellowship from the National Endowment for the Arts.

Miles Carpenter (also known as Miles Burkholder Carpenter or Miles B. Carpenter) (1889-1985) was a sculptor active in Waverly, Virginia who carved figures and animals from wood and referred to some as "advertisements."

Tessie Carroll was an Oklahoma folk artist known for her rock sculptures and carvings.

Eldren M. (E.M.) Bailey (1903-1987) was an African American sculptor and painter from Atlanta, Georgia whose sculptures were influenced from his background making grave markers.

Emanuel "Litto" Damonte (1892-1985) started collecting hubcaps in 1957 and created an art environment on his property in Napa Country, California, known as Hubcap Ranch.

Samuel Perry (S.P). Dinsmoor (1843-1932) was a Kansan sculptor who designed a sculpture garden at his home called the Garden of Eden," consisting of over 200 concrete works reflecting his religious and political beliefs.

Sam Doyle (1906-1985) was an African American artist born on St. Helena, an island off the coast of South Carolina, whose colorful paintings document the island's people and Gullah culture.

John Ehn (1887-1981) was a former trapper turned sculptor who decorated the landscape of his Californian motel, Old Trapper's Lodge, with sculptures depicting myths and the Old West.

Howard Finster (1916-2001) was a Georgian folk artist and Baptist minister known for his former home, Paradise Garden, consisting of constructions, found objects and sculptures.

Laura Pope Forrester (1873-1953) was a sculptor who created figurative works in her Georgian garden that depicted notable women and fictional characters.

Dilmus Hall (1896-1987) was an African American artist whose sculptural works are associated with religious customs that combine African traditions and Christianity.

Irene Hall was an Oklahoman artist who decorated her home with sculptural works she had made with found objects.

Bessie Harvey (1929-1994) was an African American folk artist from Tennessee who created wooden sculptures often inspired by nature.

Eddie Owens Martin "St. EOM" (1908-1986) was a Georgian artist who created a visionary art environment called Pasaquan.

Jeff McKissack (1902-1980) is the creator of The Orange Show, an art environment constructed in Houston Texas to honor his favorite fruit.

John Milkovitch (1912-1988) was a retired upholsterer who constructed the Beer Can House, by decorating his home with over 50,000 fattened beer cans.

J. B. Murry (1910-1988) (also known as J.B. Murray) was an African American painter who incorporated illegible text in his work which he interpreted with the use of a bottle of well water.

Tressa "Grandma" Prisbrey (1896-1988) constructed numerous structures out of bottles and found objects at her home creating what became known as Grandma Prisbrey's Bottle Village.

Dow Pugh (1906-1993) was an artist from Tennessee who created paintings and sculptural works.

W. T. Ratcliffe was an engineer who, in the 1930s created sculptures in Boulder Park in Jacumba, California.

William Carlton Rice (1930-2004) was a self-ordained minister who created a Cross Garden around his home in Alabama.

Royal Robertson (1936-1997) was an African American artist and self-proclaimed prophet from Louisiana whose work incorporated biblical themes, and references to "girlie magazines" and comic strips.

James "Son Ford" Thomas (1926- 1993) was an African American sculptor and blues musician from Mississippi who is known for his clay skull sculptures.

Mose Tolliver (1919-2006) was an African American folk painter from Alabama who painted with house paint on wood.

Frank van Zant "Chief Rolling Mountain Thunder" (1921-1989) was an Oklahoman artist who created a park in Nevada dedicated to the American Indian known as Thunder Mountain Monument.

Brother Joseph Zoettl (1878-1961) was a monk who constructed a miniature city of famous religious buildings at St. Bernard Abbey known as Ave Maria Grotto.

Related Materials:

Also found in the Archives of American Art are the Photographs and videos of self-taught artists; Willie Ann Wright photographs; Howard Finster papers; John F. Turner research material on Howard Finster; Howard Finster interview and recordings; Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry; Willem Volkersz interviews; and J. B. Murray drawings. There is also an oral history interview with Howard Finster conducted by Liza Kirwin in 1984.

The California State University, Channel Islands holds the Prisbrey bottle village collection. The University of North Carolina at Chapel Hill holds the Judith McWillie papers. The University of Georgia Special Collections Libraries holds the Howard Finster collection and the Howard Finster Tapes.

Provenance:

The Andy Nasisse files relating to self-taught artists were donated to the Archives of American Art by Andy Nasisse in 1985.

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:

Video on J.B. Murray: Authorization to publish, quote, or reproduce requires written permission from Andy Nasisse. 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.

Occupation:

Educators -- Georgia  Search this

Folk artists  Search this

Ceramicists -- Georgia  Search this

Potters -- Georgia  Search this

Topic:

Self-taught artists  Search this

African American artists  Search this

Genre/Form:

Sound recordings

Video recordings

Citation:

Andy Nasisse files relating to self-taught artists, circa 1979-circa 1986. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation.

Identifier:

AAA.nasiandy

See more items in:

Andy Nasisse files relating to self-taught artists

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw925d29844-be82-4471-9907-9d477d264625

EDAN-URL:

ead_collection:sova-aaa-nasiandy

Interviewee:

Jaudon, Valerie, 1945-  Search this

Interviewer:

Berman, Avis  Search this

Creator:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Names:

United States. General Services Administration. Design Excellence and the Arts Oral History Project  Search this

Extent:

3 Items (Sound recording, master: 3 WMA files (5 hr., 43 min.), digital, 2 5/8 in.)

95 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 Oct. 8-Dec. 22

Scope and Contents:

An interview of Valerie Jaudon conducted 2009 Oct. 8-Dec. 22, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Jaudon's studio, in New York, N.Y.

Jaudon speaks of her family and early life in Greenville, MS; her early interactions with visual art; her education at Mississippi University for Women in Columbus and Memphis Academy of Art in Tennessee; her time as an art student at University of the Americas in Mexico City and at St. Martin's School of Art in London; her early career as an artist in New York City and her work for the architecture firm of Romaldo Giurgola; her involvement with the pattern painting and feminist art movements of the mid-1970s; her experience of being represented by dealers Holly Solomon and Sidney Janis; the artistic influences in her paintings and their formal development from the early 1970s to the present; commissioned works and installations for private and public spaces, including "Long Division" (1988), for the 23rd St. and Lexington Ave. subway station in New York City; "Reunion" (1989), for the Police Plaza at the Municipal Building in New York City; "Free Style" (1989), for the Athletic and Swim Club at the Equitable Center in New York City; "Pilot" (1989), for the City Hall in Atlanta, GA; "Eastern Standard" (1991), for the Rudin Building in New York City; "Refraction" (1994), for Staten Island College in New York City; "Blue Pools Courtyard" (1993), for the Birmingham Museum of Art in Alabama; "Solstice" (1996), at Ronald Reagan Washington National Airport; "Measure for Measure" (1999), at the Städel Museum in Frankfurt, Germany; and her two GSA commissions: "Portal South, Portal North" (2002), for the Federal Courthouse in Jacksonville, FL; and "Filippine Garden" (2004), for the Thomas Eagleton Courthouse in St. Louis, MO. Jaudon also recalls the following individuals: Lawrence Alloway, Frank Auerbach, Gillian Ayres, Francis Bacon, Jim Balsley, Edward Larrabee Barnes, Lynda Benglis, Bruno Bischofberger, Scott Burton, Anthony Caro, Leo Castelli, Martin Craig, Louise Deutschman, John Duff, Thomas Francis Eagleton, Edward Louis Filippine, Eric Fischl, Conrad Fisher, James Ingo Freed, Lucian Freud, Jennifer Gibson, Françoise Gilot, Mitchell Giurgola, Paola Giurgola, Barbara Gladstone, Amy Goldin, Eugene Goossens, Frederick Gore, Dan Graham, Marcia Hafif, Lindsay Hannich, Al Held, Eva Hesse, Peter Howard, Carroll Janis, Harriet Janis, Neil Jenney, Jasper Johns, Louis Kahn, Richard Kalina, Allan Kaprow, Ivan Karp, Jane Kaufman, Willem de Kooning, Leon Kossoff, Joyce Kozloff, Cynthia Krauss, Sol Lewitt, Dorothy Lichtenstein, Roy Lichtenstein, Bob Loeb, Morris Louis, Kim MacConnel, Brice Marden, Gabriel Mayer, Ronay Menschel, Stephen Miotto, Mary Miss, Piet Mondrian, Henry Mundy, Betty Parsons, Cesar Pelli, Larry Poons, Tony Robin, Dorothea Rockburne, Randy Rosen, Aldo Rossi, Jonas Salk, Miriam Schapiro, Bernard Schmalenbach, Alfred Schmela, George Segal, Helen Segal, Rena Segal, Richard Serra, Ned Smyth, Horace Solomon, Pari Stave, Frank Stella, Gary Stephan, Margret Stuffmann, Robert Venturi, Joan Ward, Andy Warhol, Tom Wesselmann, Isabel Wilson, Mario Yrisarry, Robert Zakanitch, Barbara Zucker; and others.

Biographical / Historical:

Valerie Jaudon (1945- ) is a feminist artist in New York, N.Y. She is known for her postminimal paintings and public art works.

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.

Occupation:

Painters -- New York (State) -- New York  Search this

Public artists -- New York (State) -- New York  Search this

Topic:

Feminists  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the U.S. General Services Administration, Design Excellence and the Arts.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.jaudon09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94d47b277-2c9b-496e-8cc0-931c62bfb917

EDAN-URL:

ead_collection:sova-aaa-jaudon09