Search Results

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2019-11-21T23:17:21.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_7_IbPsRVhAA

Creator:

March, Benjamin, 1899-1934  Search this

Names:

March, Benjamin, 1899-1934  Search this

Rowe, Dorothy, 1898-  Search this

Extent:

15 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Lecture notes

Letters

Place:

China

Japan

China -- Description and Travel

Michigan

Date:

1923-1934

Summary:

Writer, curator, and professor Benjamin Franklin March Jr. (1899-1934) studied, lectured, and wrote in the United States and in China, and through his works gained respect as one of the foremost authorities on Chinese art during the 1920s and 1930s. His papers, dating from 1923 to 1934, document his professional and personal life in the United States and in China and include lecture notes and outlines; research notes; diaries; scrapbooks; and photographs.

Scope and Content Note:

The Benjamin March Papers span the years 1923 to 1934 and measure 15 linear feet. The collection includes: biographical data included in passports, obituaries, and fifty-seven condolence letters; lecture and course outlines; research notes; four diaries; one scrapbook; four illustrations including sketches for the March bookplate; fourteen photograph albums; printed matter; and 100 personal and artistic photographs.

Arrangement note:

The collection is divided into the following series:

Series 1: Biographical Information, 1927-1935

Series 2: Diaries, 1925-1934

Series 3: Writings and Research Materials, 1927-1934, undated

— Subseries 3.1: Lecture Materials

— Subseries 3.2: Research

— Subseries 3.3: Printed Matter

Series 4: Scrapbooks, 1924-1934

Series 5: Graphic Materials, 1925, 1933, undated

— Subseries 5.1: Illustrations

— Subseries 5.2: Photo Albums

— Subseries 5.3: Photographs

Biographical Information:

Biographical Sketch

1899 -- Born, Chicago, IL. Son of Benjamin Franklin and Isabel (née McNeal)

[1917?] -- Attended Lewis Institute and the YMCA College before transferring to the University of Chicago

1918-1919 -- Military service, Sergeant, Field Remount Squadron, No. 305, Army Service Corps

1922 -- Graduated from the University of Chicago (Ph.B)

1922-1923 -- Attended the Union Theological Seminary, New York, NY

1923-1925 -- Teacher of English, Latin, and Bible Studies at Hopei University; the Second Normal School; and the YMCA in Paotingfu, China

1925 June 25 -- Married Dorothy Rowe in Nanking, China

1925-1927 -- English instructor; Librarian; and Lecturer in Chinese Art, Yenching University Peiping, China

1927, summer -- Lecturer on Chinese art Columbia University

1927-1931 -- Curator of Asiatic Art Detroit Institute of Arts

1928 -- Honorary Curator of Oriental Aesthetic Art at the Museum of Anthropology, University of Michigan, Ann Arbor

1928 -- Appointed honorary curator at the Museum of Anthropology, University of Michigan, Ann Arbor

[1929?] -- Daughter (Judith) born

1929 -- China and Japan in Our Museums, published by the American Council, Institute of Pacific Relations

1931 -- Spent six months in China under a special grant from the American Council of Learned Societies to study 13th century painter, Ch'ien Hsuan

1932 -- Curator, Museum of Anthropology, University of Michigan, Ann Arbor

1932 -- Appointed honorary curator at the Detroit Institute of Arts

1933 -- Awarded a Freer Fellowship

1934 -- Standards of Pottery Description, published by the University of Michigan Press

1934, summer -- Organized, directed, and lectured at a summer session of the Institute of Asiatic Studies at the University of California, Berkeley

1934 December -- Died at home in Ann Arbor, Michigan after a five-week illness (heart ailment)

Far Eastern art writer, curator, and lecturer, Benjamin Franklin March Jr., was born in Chicago on July 4, 1899 to Benjamin and Isabel March. He studied, lectured, and wrote in the United States and China and through his works gained respect as one of the foremost authorities on Chinese art during the 1920s and 1930s. Although he lived only thirty-five years, Benjamin March was a respected and influential scholar of Asian art.

After high school, March attended the Lewis Institute and the YMCA College before transferring to the University of Chicago from which he graduated in 1922 (Ph.B). With thoughts of becoming a Methodist minister, March enrolled at the Union Theological Seminary in New York City. At the same time, March enrolled in art classes at the Metropolitan Museum. After one year at the seminary, March was presented with and accepted the opportunity to work in China. From 1923 to 1927, March resided in China where he taught and lectured at colleges. Initially, March taught English, Latin, and Bible Studies at Hopei University, the Second Normal School, and the YMCA. From 1925 to 1927, he worked at Yenching University in Peiping (now Peking) as an instructor in English, a librarian, and lecturer in Chinese art.

While in China, March met Dorothy Rowe, the daughter of a Methodist missionary stationed in Nanking. On June 25, 1925 the two were married. Ms. Rowe, whom March sometimes called Doré, had lived in China since infancy. The author of the children's story, "The Begging Dear," Rowe wrote children's stories with Chinese settings.

During the summer of 1927, the March's moved to the United States when Columbia University offered March an appointment as lecturer of Chinese Art. Later that year March was appointed curator of Asiatic art at the Detroit Institute of Arts. He remained at the Detroit Institute of Arts in this capacity until 1931. In 1928, March was appointed Honorary Curator of Oriental Aesthetic Art by the University of Michigan's Museum of Anthropology. The next year, Dorothy March gave birth to the couple's only child, Judith.

During this period March published extensively, including two publications, China and Japan in Our Museums, in 1929 and, Standards of Pottery Description, in 1934. In the latter, March developed a new technique for the scientific study of the materials and methods of manufacture of ancient Chinese pottery. ( Ann Arbor Daily News. -- "Death Takes Noted Curator". -- December 14, 1934)

In 1931, March received a grant from the American Council of Learned Societies. This grant allowed March the opportunity to travel to China and Europe to study the 13th century painter, Ch'ien Hsuan. In 1932, March was named a curator at the Museum of Anthropology at the University of Michigan. The following year he was named a Freer Fellow. The summer of 1934 found March in Berkeley, California, organizing and directing the Institute of Asiatic Studies at the University of California. During the fall of 1934, March fell ill with a heart ailment. He was ill for five weeks before he died, at the age of 35, in December of 1934. At the time of his death, Benjamin March was survived by his wife Dorothy and their daughter, Judith.

Related Collections:

The Detroit Institute of Arts maintains administrative correspondence and files generated by Benjamin March during his tenure as curator.

The Bentley Historical Library at the University of Michigan houses the Benjamin Franklin March drawings collection, This is a collection of drawings by March for his daughter; includes illustrated poems of Pentwater Beach, Michigan.

Provenance:

Judith March Davis, the daughter of Benjamin March, donated her father's papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1995.

Benjamin March's daughter, Judith March Davis, donated her father's papers to the Freer Gallery of Art and Arthur M. Sackler Gallery Archives in 1995.

Restrictions:

Collection is open for research.

Rights:

No restrictions on use.

Topic:

Art, Japanese  Search this

Art, Chinese  Search this

Architecture -- China  Search this

Architecture, Japanese  Search this

Painting, Chinese  Search this

Art, Korean  Search this

Art, Asian  Search this

Painting, Japanese  Search this

Art, Asian -- Research  Search this

Chinese language -- Terms and phrases  Search this

Art -- Terminology  Search this

Genre/Form:

Photographs

Scrapbooks

Lecture notes

Letters

Citation:

Benjamin March Papers, FSA.A.1995.10. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Judith March Davis, 1995

Identifier:

FSA.A1995.10

See more items in:

Benjamin March Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3ee55f56d-42a6-4612-8585-2aaed10572c1

EDAN-URL:

ead_collection:sova-fsa-a1995-10

Interviewee:

Gordin, Sidney, 1918-1996  Search this

Interviewer:

Seckler, Dorothy Gees, 1910-1994  Search this

Names:

Cooper Union for the Advancement of Science and Art -- Students  Search this

Pratt Institute -- Faculty  Search this

Harrison, Wallace, 1900-  Search this

Hofmann, Hans, 1880-1966  Search this

Jewell, Edward Alden, 1888-1947  Search this

Kantor, Morris, 1896-1974  Search this

Picasso, Pablo, 1881-1973  Search this

Pollock, Jackson, 1912-1956  Search this

Rosenborg, Ralph M., 1913-1992  Search this

Thomas, Byron, 1902-1978  Search this

Extent:

23 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1965 Sept. 2

Scope and Contents:

An interview of Sidney Gordin conducted 1965 Sept. 2, by Dorothy Seckler, for the Archives of American Art.

Gordin speaks of immigrating to the United States from Shanghai, China in 1922; being the class artist in grade school; attending Brooklyn Technical High School; studying at the WPA art school at the Brooklyn Museum for a summer; attending the Cooper Union School of Art; encountering Cubism; working as a commercial artist and making cartoons; teaching at the Pratt Institute; and alternating, as inspiration strikes, between painting and sculpture; and Constructivist philosophy. Gordin also mentions Ralph Rosenborg, Tom Eldred, Carol and Wallace Harrison, Edward Alden Jewell, Pablo Picasso, Byron Thomas, Morris Kantor, Hans Hofmann, Paul Clay, Jackson Pollock, and others.

Biographical / Historical:

Sidney Gordin (1918-1996) was a sculptor and educator from Berkeley, Calif.

General:

Originally recorded on 1 sound tape. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 1 min.

Provenance:

These interviews are 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 others.

Occupation:

Art teachers -- California -- Berkeley -- Interviews  Search this

Painters -- California -- Berkeley  Search this

Topic:

Art, American  Search this

Sculptors -- California -- Berkeley -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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.gordin65

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aa58f1bb-73cd-4791-a140-3dab28df15d5

EDAN-URL:

ead_collection:sova-aaa-gordin65

Interviewee:

Selz, Peter Howard, 1919-2019  Search this

Interviewer:

Karlstrom, Paul J., 1941-  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Peter Howard Selz, 1999 November 3. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century  Search this

Record number:

(DSI-AAA_CollID)11943

(DSI-AAA_SIRISBib)222754

AAA_collcode_selz99

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_222754

Interviewee:

Selz, Peter Howard, 1919-2019  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Extent:

25 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1999 November 3

Scope and Contents:

An interview of Peter Selz conducted 1999 November 3, by Paul J. Karlstrom, for the Archives of American Art, in Selz's home, Berkeley, California.

This interview was conducted at Selz's request to provide a narrative conversation for a catalogue to accompany "Cross-Currents in Modern Art: A Tribute to Peter Selz," an exhibition at Achim Moeller Gallery in New York City, February 2 to March 3, 2000.

The interview focused on Selz's career as an art historian, and on the subject of modernism, with particular attention to Selz's writings and the many exhibitions in which less familiar artists (German Expressionists, Klimt, Schiele, Californians, Leon Golub, other figurative painters) and even movements (Art Nouveau, Futurism, Exhibition Momentum, Funk) were introduced. Selz discussed teaching at Moholy-Nagy's New Bauhaus in Chicago; his divergent ideas from more typical mainstream thinking about modernism primarily in formalist terms; his views on and understanding of modern art through his teaching and as a museum curator (Museum of Modern Art, NYC) and director (University Art Museum, Berkeley).

Biographical / Historical:

Peter Howard Selz (1919-2019 ) was a curator and art historian from Berkeley, California.

General:

Originally recorded 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 1 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Art historians -- California -- Berkeley -- Interviews  Search this

Topic:

Art, Modern -- 20th century  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Richard Baker Fund.

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.selz99

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cdda5c99-d6a9-4f49-8bb2-04df7b9e51af

EDAN-URL:

ead_collection:sova-aaa-selz99

Creator:

Hanks, Jane Richardson, 1908-2014  Search this

Subject:

Keith, William  Search this

Hogg, James  Search this

Richardson, Maud Wilkinson  Search this

Citation:

Jane Hanks papers related to William Keith, 1898-1905. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)17488

(DSI-AAA_SIRISBib)389174

AAA_collcode_hanksjane

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_389174

Creator:

Hanks, Jane Richardson, 1908-  Search this

Names:

Hogg, James, 1770-1835  Search this

Keith, William, 1838-1911  Search this

Richardson, Maud Wilkinson, 1868-1946  Search this

Extent:

0.02 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1898-1905

Summary:

Papers kept by Jane Richardson Hanks relating to the friendship between her mother, Maud Wilkinson Richardson and the painter William Keith, measures 0.02 linear feet and consists of six items and date 1898 to 1905. Included is documentation on a painting Kilmeny that Keith gave to Wilkinson as a wedding gift upon her marriage to Leon J. Richardson in 1900. The painting, as well as Keith's nickname of "Kilmeny" for Maud were inspired by Maud's and Keith's admiration for the poem "Kilmeny" by Scottish author James Hogg written in 1813.

Scope and Contents:

Papers kept by Jane Richardson Hanks relating to the friendship between her mother, Maud Wilkinson Richardson and the painter William Keith measures 0.02 linear feet and consists of six items and date 1898 to 1905. Included is documentation on a painting Kilmeny that Keith gave to Wilkinson as a wedding gift upon her marriage to Leon J. Richardson in 1900. The painting, as well as Keith's nickname of "Kilmeny" for Maud were inspired by Maud's and Keith's admiration for the poem "Kilmeny" by Scottish author James Hogg written in 1813.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Series 1: Jane Hanks Papers related to William Keith, 1898-1905 (Folder 1; 6 Items)

Biographical / Historical:

Jane Richardson Hanks was the daughter of Maud Wilkinson Richardson (1868-1946), a friend of painter William Keith (1838-1911). Hanks was a noted anthropologist born August 2, 1908. She died July 27, 2014 in Bennington, Vermont. Maud married Leon J. Richardson in 1900. They lived in Berkeley, California.

Provenance:

Donated in 2017 by Michael L. Heslip, a painting conservator who received the material from Jane Hanks when Heslip was treating the painting Kilmeny, at the time owned by Hanks.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Painters -- California  Search this

Citation:

Jane Hanks papers related to William Keith, 1898-1905. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hanksjane

See more items in:

Jane Hanks papers related to William Keith

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw929dd9f62-1a02-416d-bc92-ffce7fa787bc

EDAN-URL:

ead_collection:sova-aaa-hanksjane

Creator:

Perkins, James Secor  Search this

Gilbreth, Frank Bunker, 1868-1924  Search this

Gilbreth, Lillian Moller, 1878-1972  Search this

Extent:

5 Cubic feet (19 boxes)

5 Cubic feet (19 boxes)

Type:

Collection descriptions

Archival materials

Videotapes

Betacam sp (videotape format)

Motion pictures (visual works)

Date:

1907-2000

bulk 1911-1924

Summary:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Scope and Contents:

The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.

Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.

Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.

The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.

Some subject categories include:

Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.

Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.

Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.

Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.

Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.

Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.

Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).

Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.

Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.

Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.

Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.

Factory documentation: various images of the interior and edterior of factories including heavy machinery.

Golfing study: various cyclegraphs of a man swinging a golf club.

Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.

Handwriting and cyclegraphs: finger lights moving in patterns of script.

Ladders: include step ladders and painters' ladders shown in use near shelving.

Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.

Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.

Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.

Motion models: images of simple wire motionmodels.

Needle trade study: views of textile machinery and workers.

Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.

Packing: methods of placing and arranging goods in boxes, such as soap packing.

Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.

Pure light cyclegraphs: no workers or grids visible only finger lights in motion.

Rubber stamping study: hand movements and access to ink pads and stamps.

Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.

Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.

Shop machinery: various shots of machines and workers working with machines.

Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.

Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.

Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.

Storage: images illustrate contrast between old techniques and new.

Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.

Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.

Typing study: various views of femaile s under observation using Remington typewriters.

Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.

Series 5, Stereographs,1911-1914,

Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.

Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.

Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.

The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.

Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.

Arrangement:

The collection is arranged into six series.

Series 1: Background Materials, 1892-1997

Subseries 1.1: Frank B. Gilbreth, undated

Subseries 1.2: Frank B. Gilbreth patents, 1892-1916

Subseries 1.3: Printed Materials, 1907-1997

Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated

Series 3: Photo prints of glass stereo slides, 1910-1924 and undated

Subseries 3.1: Photo Print Books, 1-9, undated

Subseries 3.2: Photo prints (duplicates), undated

Series 4: Stereo Autochromes, undated

Series 5: Stereograph Cards, 1911-1914

Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated

Subseries 6.1, Audio visual documentation, 1968 and undated

Subseries 6.2: Moving images, 1968 and undated

Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated

Biographical / Historical:

Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and people with disabilities. Gilbreth established the link between psychology and education to be succesful management.

Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.

Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.

At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.

In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.

Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).

It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.

In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.

Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.

After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.

Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.

Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.

Related Materials:

Material in Other Institutions

Purdue University, Archives and Special Collections

Frank and Lillian Gilbreth papers, 1869-2000

The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.

Collection of materials related to Lillian Gilbreth, 1964-2006

One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.

Cornell University, Kheel Center for Labor-Management Documentation and Archives

Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf

Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.

Provenance:

The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Series 2: Glass Stereo Slides are restricted. Boxes 3-9 were digitized in 2021. Researchers must use digital copies. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Motion study  Search this

Machinery industry  Search this

Machine shops  Search this

Industrial management  Search this

Industrial films  Search this

Industrial engineering  Search this

Genre/Form:

Videotapes

BetaCam SP (videotape format)

Motion pictures (visual works) -- 1930-1950

Citation:

Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0803

See more items in:

Frank and Lillian Gilbreth Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a48e652d-6387-4a23-98c0-299772c454d5

EDAN-URL:

ead_collection:sova-nmah-ac-0803

Painter:

Bingham, George Caleb 1811-1879  Search this

Subject:

Dean, Abner Holton  Search this

Medium:

Oil over photograph on paper

Type:

Paintings

Owner/Location:

William Jewell College Liberty Missouri

Date:

1866

Topic:

Portrait male--Full length  Search this

Occupation--Religion--Clergy  Search this

Architecture interior--Civic--Prison  Search this

State of Being--Other--Imprisonment  Search this

Recreation--Leisure--Reading  Search this

Object--Written Matter--Book  Search this

Object--Written Matter--Newspaper  Search this

Control number:

IAP 81150287

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_189985

Painter:

Unknown  Search this

Medium:

Oil on canvas

Culture:

Indian  Search this

Type:

Paintings

Owner/Location:

University of California, Berkeley Bancroft Library Berkeley California 94720 Accession Number: 63.2.1359

Topic:

Figure group  Search this

Equestrian  Search this

Ethnic  Search this

State of Being--Other--Imprisonment  Search this

Disaster--Fire  Search this

Control number:

IAP 60540124

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_69727

Creator:

Preloran, Jorge, 1933-2009  Search this

Names:

University of California, Los Angeles  Search this

Extent:

50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)

22 Linear feet (Papers and photographs)

Type:

Collection descriptions

Archival materials

Film reels

Place:

Patagonia (Argentina and Chile)

Argentina

Date:

1954-circa 2008

Summary:

Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.

Scope and Contents:

This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.

The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films.

Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States.

In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.

Arrangement:

This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006

Biographical Note:

Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA).

Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960.

Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter.

Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D.

In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy).

Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor.

During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits.

Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009.

Sources Consulted

UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary

Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution.

Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010.

Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009.

1933 -- Born May 28 in Buenos Aires, Argentina

1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina

1954 -- Completes first film, Venganza, a fictional short

1955 -- Studies at the College of Architecture, University of California at Berkeley

1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany

1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA

1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York

1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina

1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA

1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA

1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University

1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina

1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina

1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television

1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York

1980 -- Academy Award nominee for Luther Metke at 94

1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin

1986 -- Naturalized as a United States citizen

1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado

1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus

2009 -- Dies on March 28 in Culver City, California

Related Materials:

The Human Studies Film Archives holds a copy of Fermín Rivera's edited biographical documentary film, Huellas y Memoria de Jorge Prelorán (HSFA 2015.1.27), as well as transcripts of interviews conducted with Jorge and Mabel Prelorán for the film (in Spanish).

The Harry Ransom Center, University of Texas at Austin, holds the original film for four titles Prelorán produced for the Tinker Foundation (New York, NY). These are: The Llanero; The Gaucho of Corrientes; The Gaucho of the Pampas; and The Gaucho of Salta. The Ransom Center has both English and Spanish versions of these titles. These four films were preserved in 2010 and 2011 with funding from the Tinker Foundation. HSFA holds high quality video masters of all four titles. A fifth film produced for the Tinker Foundation, El Gaucho Argentino, Hoy (The Argentine Gaucho, Today), is held at the HSFA in its Spanish version only.

The Arthur Hall Collection at Temple University, Phildadelphia, Pennsylvania and Ile Ife Films in Belfast, Maine hold a copy of The Unvictorious One that differs from the two versions held at the HSFA.

Provenance:

This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.

Restrictions:

The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.

Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.

Access to the Jorge Prelorán collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Ethnology  Search this

Documentary films  Search this

Biography  Search this

Citation:

The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.

Sponsor:

Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.

Identifier:

HSFA.2007.10

See more items in:

Jorge Prelorán films

Archival Repository:

Human Studies Film Archives

GUID:

https://n2t.net/ark:/65665/pc95d05b888-ed6e-48ee-b368-8629661849e2

EDAN-URL:

ead_collection:sova-hsfa-2007-10

Creator:

Nanao, Kenjirō, 1929-2013  Search this

Names:

Nanao, Gail Chadell  Search this

Extent:

10.9 Linear feet

0.706 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketchbooks

Diaries

Drawings

Date:

circa 1885-2017

bulk 1970-2000

Summary:

The papers of California-based painter and educator Kenjilo Nanao measure 10.9 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. The papers document Nanao's career through biographical material; correspondence with friends, family, artists, universities, and museums; journals; professional files such as teaching files, gallery records and financial records; printed materials, photographs, sketchbooks and drawings.

Scope and Contents:

The papers of California-based painter and educator Kenjilo Nanao measure 10.9 linear feet and date from circa 1885-1887 and circa 1949-2017, with the bulk of the papers dating from 1970 to 2000. The papers document Nanao's career through biographical material; correspondence with friends, family, artists, universities, and museums; journals; professional files such as teaching files, gallery records and financial records; printed materials, photographs, sketchbooks and drawings.

Biographical material includes address books, forms of international identification, travel documents, and interviews in the form of written typescripts and digital audio recordings.

Correspondence is between Kenjilo Nanao and friends, family, and other artists in both English and Japanese. Notable correspondents include John and Kati Casida, William Hyland, Fumiyo and Jun Kaneko, son Max Nanao, Nathan Oliveira, Mel Ramos, and others. There are also several journals of letter drafts by Kenjilo Nanao. This series also includes letters addressed to Nanao's wife Gail from various individuals.

There are numerous journals which contain entries on daily activities, but also include Kenjilo Nanao's thoughts on art, to-do lists, and some sketches in watercolor and charcoal. Later journals are titled and dedicated to specific travels abroad.

Professional files include appointment books, teaching files from California State University at Hayward, studio documents, assorted ledgers, and lithography course materials.

Printed material includes exhibition announcements and catalogs, clippings, magazines, posters, books written in Japanese, and other miscellaneous materials.

Photographs depict Nanao's family and friends, with a few images of artwork and exhibitions, and one small album of photographs of a house and neighborhood in Japan.

The artwork series mostly consists of sketchbooks, as well as some loose drawings and watercolors.

Arrangement:

The collection is arranged in 7 series:

Series 1: Biographical Material, circa 1960-circa 2017 (0.4 Linear Feet, 0.706 GB; Box 1, ER01)

Series 2: Correspondence, circa 1961-2013 (4.6 Linear Feet; Boxes 1-5, 12, OV 13)

Series 3: Journals, circa 1947-2013 (3.8 Linear Feet; Boxes 5-9, 12)

Series 4: Professional Files, circa 1967-2011 (0.8 Linear Feet; Boxes 9-10, OV 14)

Series 5: Printed Material, circa 1885-1887, circa 1968-2013 (0.6 Linear Feet; Box 10, OV 14)

Series 6: Photographic Material, circa 1960-2011 (0.1 Linear Feet; Box 10)

Series 7: Artwork, circa 1964-2013 (0.6 Linear Feet; Boxes 10-12)

Biographical / Historical:

Kenjilo Nanao (1929-2013) was a painter and printmaker in San Francisco, California.

Nanao was born in Aomori, Japan, and graduated with a degree in economics in 1953 from Nihon University before immigrating to the United States to study art in the San Francisco Bay Area. He received a bachelor's degree from the California School of Fine Arts in 1963 as well as a masters of fine arts from the San Francisco Art Institute in 1971, where he studied under Nathan Oliveira and met his wife and fellow artist, Gail Chadell Nanao.

Kenjilo's primary artistic medium was lithography in which he became known for Surrealist minimal figurative compositions. Eventually he immersed himself in painting in an Abstract Expressionist style that became his main form of artistic production from the 1980s on. Nanao taught lithography and painting at California State University at Hayward from 1971-1990, and lectured at various other schools in the San Francisco Bay Area. His work is included in the collections of the Museum of Modern Art, in New York City, City of San Francisco, Pasadena Art Museum, Los Angeles County Museum, Cincinnati Museum of Art, Honolulu Academy of Art, Gruenwald (University of California, Los Angeles), the Achenbach Foundation, and others.

Kenjilo Nanao died in Berkeley, CA in 2013 and is survived by his wife and son Max.

Provenance:

The Kenjilo Nanao papers were donated to the Archives of American Art in 2016 and 2018 by Gail Nanao, Kenjilo Nanao's widow.

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 -- California -- San Francisco Bay Area  Search this

Educators -- California  Search this

Lithographers -- California  Search this

Topic:

Japanese American artists  Search this

Asian American artists  Search this

Asian American painters  Search this

Asian American printmakers  Search this

Asian American educators  Search this

Genre/Form:

Sketchbooks

Diaries

Drawings

Citation:

Kenjilo Nanao papers, circa 1885-1887, circa 1949-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

Identifier:

AAA.nanakenj

See more items in:

Kenjilo Nanao papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9496e27a8-fbe8-42d4-b862-c730a2a51d1e

EDAN-URL:

ead_collection:sova-aaa-nanakenj

Creator:

Benton, Fletcher, 1931-  Search this

Names:

André Emmerich Gallery  Search this

Galerie Denino  Search this

Bury, Pol, 1922-2005  Search this

De Wilde, Dan  Search this

Finn, David  Search this

Jones, Lillian E.  Search this

Louchheim, Marlene  Search this

Lucie-Smith, Edward  Search this

Marquand, Ed  Search this

Neubert, George W.  Search this

Rickey, George  Search this

Sanders, Pieter  Search this

Tooker, Dan  Search this

Valentine, DeWain, 1936-  Search this

Wilke, Ulfert, 1907-1987  Search this

Extent:

8.7 Linear feet

1.47 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Motion pictures (visual works)

Drawings

Video recordings

Transcripts

Sound recordings

Photographs

Christmas cards

Date:

1934-2014

Summary:

The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career as a sculptor with international presence through certificates, personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, and photographs, sound and video recordings, and motion picture film documenting his work and career.

Scope and Contents:

The papers of sculptor and painter Fletcher Benton measure 8.2 linear feet and 1.47 GB and date from 1934 to 2014. They document his career through personal photographs, legal papers, correspondence, exhibition and commission documentation, clippings, exhibition-related printed materials, broadcast materials, publications about his work, an editioned kinetic Christmas card, photographs, sound and video recordings motion picture film, some of which also appears in digitized form.

Biographical Materials include personal photographs, legal documents related to a court case with book designer Ed Marquand, biographical texts, interview transcripts, and a home video made by the artist. Correspondence is with other artists, friends, galleries, museums and other institutions, including George W. Neubert, André Emmerich Gallery, Pieter Sanders, Pol Bury, George Rickey, Ulfert Wilke, Marlene Louchheim, DeWain Valentine, Lillian E. Jones, and Edward Lucie-Smith. Interviews include sound recordings of interviews with Benton by academics and journalists, including Edward Lucie-Smith, Dan Tooker, and Dan De Wilde.

Exhibition and Commission Files consist of correspondence with galleries, museums and commission patrons; financial records; shipping and subcontracting documentation; motion picture film, video, and sound recordings related to exhibitions and installations; and planning and design materials. Series includes a significant amount of oversized drawings and plans for site-specific work. There is a large volume documentation from the Folded Circle-Arc commission by Stanley Consultants, Inc. in Muscatine, Iowa; the California/International Arts Foundation Traveling Sculpture Exhibition; Double Folded Circle Ring in Brussels and Double Circle Folded by Cedars Sinai Medical Center in Los Angeles.

Printed Materials include news clippings related to Benton's career, as well as brochures, exhibition catalogs, posters and other printed materials related to exhibitions and commissions. Broadcast materials include television news footage, radio and television interviews, documentaries, and promotional materials made by galleries and other cultural institutions.

Photographic and Moving Image Materials include art-related images showing Benton in his studio and images of exhibitions, installations and inaugurations. Also found are still photographs and motion picture films of artworks, including paintings, sculptures, and kinetic drawings, and a series of photographs of sculptures taken by David Finn.

Artwork consists of an editioned art Christmas card created by Benton for Galeria Bonino in New York from 1969. An American Artist Moving Image Materials consist of 13 videocassettes (VHS) which document the production process of the documentaryFletcher Benton: An American Artist by Morgan Cavett. There is footage from interviews with Benton and with curator George W. Neubert, footage of San Francisco with comments from Benton about his time there, interviews with the artist's studio assistants, images of his studio in Dore street and a couple of almost finished rough versions of the documentary.

Arrangement:

This collection is arranged as nine series.

Missing Title

Series 1: Biographical Material (0.3 linear feet; boxes 1, 9)

Series 2: Correspondence (1 linear foot; boxes 1, 2, OV 10)

Series 3: Interviews (0.3 linear feet; box 2)

Series 4: Exhibition and Commission Files (2 linear feet, 0.50 GB; boxes 2-4, OV 11-13, RD 14, FC 15, ER01)

Series 5: Printed Materials (2.3 linear feet; boxes 4-6, OV 10)

Series 6: Broadcast Materials (1.1 linear foot; boxes 6-7)

Series 7: Photographic and Moving Image Materials (0.5 linear feet, 0.97 GB; boxes 7, 9, FC 16-17, ER02)

Series 8: Artwork (1 item; box 7)

Series 9: -- An American Artist -- Video Recordings (0.6 linear feet; boxes 7-8)

Biographical / Historical:

Fletcher Benton was born in Jackson, Ohio in 1931 to Fletcher and Nell Cavett Benton and was the oldest of three children. Benton graduated from Jackson High School in 1949. After serving in the Navy he graduated from Miami University (Oxford, Ohio) in 1956 and moved to San Francisco, where he started working as an instructor at the California College of Arts and Crafts in 1959. He was in San Francisco during the flourishing of the Beat generation, where he had a studio in the North beach area and exhibited at coffee house galleries.

After travelling around Europe in 1960, Benton moved to New York City where he tried to make his living through painting and teaching privately. During those years he was supported by Jackson's local arts patron and family friend, Lillian E. Jones. In 1960 he had his first solo exhibition at Gump's gallery in San Francisco, but his work was taken down after one day because it was considered obscene for including female nudes. He returned to San Francisco in late 1961.

In 1966 Fletcher started teaching at the San Francisco Art Institute and established himself as a primary figure of American kinetic art. In 1966, Peter Selz included his work in the exhibition Directions in Kinetic Sculpture at the University Art Gallery in Berkeley, CA. During the exhibition Benton met the artists Pol Bury and George Rickey with whom he became friends. The exhibition, along with an article "The Movement Movement" that appeared in Time magazine the same year, established Benton's reputation as a significant American Kinetic artist. He also started teaching at the California State University in San José in 1967 where he continued working until 1986.

By 1974 Benton abandoned kinetic art to continue exploring sculpture in three dimensions in a style that became known as "new constructivism." The artworks were conceived in the series Folded Circles and Folded Square Alphabets and were produced in bronze, aluminum and steel. It was also during the 1970s that he started doing large-scale commissions such as the 1977 IBM commission.

Between 1981 and 1984 Benton constructed his studio in Dore Street in the Market district of San Francisco where he continues to work today. During the 1980s Benton started his Balanced/Unbalanced series, which introduced the idea of gravity using geometric forms in different formats and sizes.

From 1984 he began to show more work in Europe, especially in Germany, where in 1993 he got a major commission to create a colossal public sculpture in Cologne entitled Steel Watercolor Triangle Ring. It was also in Germany where Benton encountered the work of Wassily Kandinsky and Kazimir Malevich, and he began work on his Construct Relief series in reponse, which he dedicated to Kandinsky. These geometric constructions are flat, canvas-like steel structures that combine features of painting and sculpture. As the series evolved, the work became more like painting, constructed to hang on the wall without a back piece, so they seem to be floating in the space.

Benton continues to live and work in San Francisco and is represented by multiple galleries in the United States and Germany.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Fletcher Benton conducted by Paul J. Karlstrom, 1989 May 2-4 is available on the Archives of American Art website.

Provenance:

Donated 2005-2006 and 2014 by Fletcher Benton. Benton's wife, Bobbie Benton, organized the material by subject matter and date.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual material without a duplicate copy requires advanced 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 -- California -- San Francisco  Search this

Sculptors -- California -- San Francisco  Search this

Topic:

Artists' studios -- Photographs  Search this

Genre/Form:

Interviews

Motion pictures (visual works)

Drawings

Video recordings

Transcripts

Sound recordings

Photographs

Christmas cards

Citation:

Fletcher Benton papers, 1934-2014. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.

Identifier:

AAA.bentflet

See more items in:

Fletcher Benton papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9951bf858-723f-4f17-804b-fc250edde964

EDAN-URL:

ead_collection:sova-aaa-bentflet

Interviewee:

Ito, Miyoko, 1918-1983  Search this

Interviewer:

Barrie, Dennis  Search this

Names:

Art Institute of Chicago  Search this

Ox-Bow Summer School of Painting  Search this

Smith College  Search this

Baum, Don, 1922-  Search this

Berdich, Vera, 1915-2003  Search this

Chapin, Francis, 1899-1965  Search this

Cohen, George, 1913-1980  Search this

Edmondson, Leonard, 1916-  Search this

Haley, John, 1905-1991  Search this

Hofmann, Hans, 1880-1966  Search this

Johnston, Ynez, 1920-  Search this

Kahn, Max, 1903-2005  Search this

Lanyon, Ellen  Search this

Loran, Erle, 1905-1999  Search this

Mitchell, Joan, 1926-1992  Search this

Moholy-Nagy, László, 1895-1946  Search this

Ryder, Worth, 1884-1960  Search this

Venturi, Lionello, 1885-1961  Search this

Extent:

2 Items (Sound recording: 2 sound files, digital, wav file)

41 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1978 July 20

Scope and Contents:

An interview of Miyoko Ito conducted 1978 July 20, by Dennis Barrie, for the Archives of American Art.

Ito discusses her family background; being in Japan at an early age, attending school and learning calligraphy; returning to California in 1928; excelling in drawing and painting; attending Berkeley High School; studying watercolor at Berkeley School of Water Color; studying under Erle Loran, Worth Ryder, John Haley; the influence of Hans Hofmann; being in internment camp (Camp Rann); attending Smith College, Northampton to study painting under instructor George Cohen; attending the Art Institue of Chicago and meeting Francis Chapin and Joan Mitchell; being influenced by Bonnard; moving into lithography at Oxbow; studying under Max Kahn; doing printmaking and etching; and participating in the Momentum Shows. Ito mentions Ynez Johnston, Leonard Edmondson, Lionel Venturi, Ellen Lanyon, Don Baum, Laszlo Moholy-Nagy, and Vera Berdich.

Biographical / Historical:

Miyoko Ito (1918-1983) was a Japanese American painter based in Chicago, Illinois.

General:

Originally recorded on 1 tape reel (5 in.).

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 others.

Occupation:

Painters -- Chicago -- Illinois  Search this

Topic:

Art, American  Search this

Asian American art  Search this

Asian American artists  Search this

Asian American painters  Search this

Japanese American art  Search this

Japanese American artists  Search this

Japanese American painting  Search this

Women artists  Search this

Women painters  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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.ito78

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fc74c5bf-beb0-466b-bc95-664a03740244

EDAN-URL:

ead_collection:sova-aaa-ito78

Creator:

Okubo, Miné, 1912-2001  Search this

Names:

Central Utah Relocation Center  Search this

Hall, Gaylord  Search this

Hamilton, Howard  Search this

Leeper, Roy  Search this

Tono, Doris  Search this

Tono, Harry  Search this

Extent:

1.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Drawings

Sketches

Illustrated letters

Date:

circa 1940-2001

Summary:

The Roy Leeper and Gaylord Hall collection of Miné Okubo papers measure 1.4 linear feet and date from circa 1940 to 2001. Roy Leeper and Gaylord Hall were long-time friends with and patrons of Okubo from the late 1950s until her death. The collection contains letters, writings, and sketches by Okubo. Among the printed materials is a copy of the 1944 special edition of Fortune magazine which was sympathetic to Japanese Americans interned during World War II and for which Okubo was hired to illustrate. Also found are scattered documents relating to Hall and Leeper.

Scope and Contents:

The Roy Leeper and Gaylord Hall collection of Miné Okubo papers measure 1.4 linear feet and date from circa 1940 to 2001. Roy Leeper and Gaylord Hall were long-time friends with and patrons of Okubo from the late 1950s until her death. The collection contains letters, writings, and sketches by Okubo. Among the printed materials is a copy of the 1944 special edition of Fortune magazine which was sympathetic to Japanese Americans interned during World War II and for which Okubo was hired to illustrate. Also found are scattered documents relating to Hall and Leeper.

Biographical materials consist of Roy Leeper's medical licenses. The bulk of the collection is comprised of Miné Okubo's letters, many of which are illustrated, to Hall and Leeper discussing her health, career, their purchase of her artwork, and mutual friends. Other correspondents include Howard Hamilton and Doris and Harry Tono. Writings and notes by Okubo inlcude a statement about the pricing of her artwork and a list of artwork. Leeper and Hall's personal business records concern the purchase and loan of Okubo's artwork for exhibitions.

Printed materials include a 1944 edition of Fortune magazine devoted to the internment of Japanese Americans during World War II. The issue includes reproductions of Okubo's illustrations of life in the World War II internment camp in Topaz, Utah. Photographs include snapshots of Okubo at an exhibition with her art and of works of art. Sketches and drawings depict mostly cats and flowers.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1942-1994 (1 folder; Box 1)

Series 2: Correspondence, 1957-2001 (0.8 linear feet; Box 1)

Series 3: Writings and Notes, circa 1940-circa 1970 (3 folders; Box 1)

Series 4: Personal Business Records, 1957-1998 (0.1 linear feet; Box 1)

Series 5: Printed Material, 1944-2000 (0.3 linear feet; Boxes 1-3)

Series 6: Photographs, circa 1940-circa 1990s (3 folders; Box 1)

Series 7: Artwork, 1960s-1997 (0.1 linear feet; Boxes 1-2)

Biographical / Historical:

Miné Okubo (1912-2001) was a Japanese American painter, illustrator, and author. She is known for her book Citizen 13600in which she described her experience at the Topaz War Relocation Camp in Utah through prose and drawings.

Born in Riverside, California in 1912, Okubo began her arts education at Riverside Junior College and transferred to the University of California, Berkeley where she completed her BA and MA in Fine Arts (where she first met Roy Leeper). In 1938, she received an award to travel and study under Fernand Léger in Paris. When World War II began in Europe, she moved back to California and worked under the Federal Arts Project. She produced some solo murals and also assisted Diego Rivera on his Treasure Island mural Pan American Unity, (1940).

In April of 1942, Miné Okubo and one of her brothers were sent to the Tanforan Assembly Center under Executive Order 9066, which forcibly interned over 100,000 Japanese and Japanese-American citizens living on the West Coast of the United States. Six months later, they were sent to the Topaz War Relocation Camp in Topaz, Utah. There, Okubo taught art in the camp's school and often sketched camp life. She was art editor for the camp newsletter Trek, a supplement to the Topaz Times.

In 1944, Fortune magazine published a sympathetic special edition on the Japanese and Japanese American internment during World War II. The magazine hired Okubo to illustrate two of the articles. She was permitted to leave the camp and move to New York City, where she remained for the rest of her life, working as a painter and illustrator. She wrote and illustrated a book about her experiences in the Topaz confinement camp, Citizen 13600, which won the American Book Award in 1984. Miné Okubo died in 2001. Medical doctor Roy Leeper befriended Miné Okubo while they were both students at the University of California. Later, he and his partner dentist Gaylord Hall were reintroduced to Okubo and her artwork by a mutual friend. They began a life-long relationship with Okuba, both as friends and collectors.

Related Materials:

Riverside City College in Riverside, California also holds the Miné Okubo papers.

Provenance:

Roy Leeper and Gaylord Hall donated the collection of Miné Okubo papers in 2001.

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.

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

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

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

Topic:

Women artists  Search this

Art patronage  Search this

Asian American art  Search this

Asian American artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Asian American painters  Search this

Asian American illustrators  Search this

Asian American authors  Search this

Women painters  Search this

Women illustrators  Search this

Women authors  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Photographs

Drawings

Sketches

Illustrated letters

Citation:

Roy Leeper and Gaylord Hall collection of Miné Okubo papers, circa 1940-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Asian Pacific American Initiatives Pool

Identifier:

AAA.okubmine

See more items in:

Roy Leeper and Gaylord Hall collection of Miné Okubo papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ba7aefa2-e800-4bfb-af53-665a6038106d

EDAN-URL:

ead_collection:sova-aaa-okubmine

Creator:

Loew, Michael, 1907-1985  Search this

Names:

Federation of Modern Painters and Sculptors  Search this

Holland-Goldowsky Gallery  Search this

Landmark Gallery (New York, N.Y.)  Search this

Marilyn Pearl Gallery  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

United States. Work Projects Administration  Search this

University of California, Berkeley  Search this

Albers, Josef  Search this

De Kooning, Elaine  Search this

De Kooning, Willem, 1904-1997  Search this

De Kooning, Willem, 1904-1997 -- Photographs  Search this

Dehner, Dorothy, 1901-1994  Search this

Gottlieb, Adolph, 1903-1974  Search this

Hasen, Burt  Search this

Jensen, Alfred, 1903-1981  Search this

Johnson, Philip, 1906-2005  Search this

Kahn, Louis I., 1901-1974  Search this

Kaprow, Allan  Search this

Kent, Rockwell, 1882-1971  Search this

Lahey, Richard, b. 1893  Search this

McDarrah, Fred W., 1926-2007  Search this

McNeil, George, 1908-1995  Search this

McPherson, Sarah Freedman, 1895-1978  Search this

Morris, George L. K., 1905-1975  Search this

Odets, Clifford, 1906-1963  Search this

Schempp, Theodore  Search this

Schnitzler, Max, 1903-  Search this

Siskind, Aaron  Search this

Slivka, Rose  Search this

Extent:

1.8 Linear feet ((partially microfilmed on 2 reels))

Type:

Collection descriptions

Archival materials

Date:

1930-1997

Scope and Contents:

Biographical material, correspondence, notes, writings, photographs, business and financial records, works of art, and printed material document the career of painter and educator Michael Loew.

REEL N68-94: Biographical material, 1957-1967, includes 5 biographical sketches, a bibliography of Loew's publications, and an artist's statement. Correspondence, 1935-1968, is with colleagues, galleries, and educational institutions. There are one or two letters each from colleagues Josef Albers, Willem de Kooning, Adolph Gottlieb, Philip Johnson, Richard Lahey, George L.K. Morris, and Clifford Odets. Nine letters relate to Loew's work for the U.S. Works Progress Administration and the New York World's Fair. Writings, 1966, consist of several drafts for essay "Is It the Function of the Artist to Communicate with his Audience." A contract, 1938, is between Loew and Willem de Kooning and the New York World's Fair 1939 Inc. Printed material, 1944-1968, consists of exhibition announcements and catalogs. Photographs, 1960-1964, are of Loew and his art works. Notes consist of 2 undated notebooks and a typescript concerning Josef Albers. A scrapbook, 1938-1965, contains 4 photographs of art works, clippings, and exhibition announcements and catalogs.

REEL 5053: Correspondence, 1944-1990, is with galleries, including the Holland-Goldowsky Gallery, educational institutions, including the University of California at Berkeley, and colleagues including Dorothy Dehner, Burt Hasen, and Aaron Siskind. Correspondence, 1956-1957, with Rockwell Kent concerns the rental of Kent's Monhegan Island cabin. One letter, 1959, includes 3 photographs of Loew, Louis Kahn, Allan Kaprow, and George McNeil. Lecture notes are for an Artists Equity symposium, 1956, and a panel discussion on painting, 1968. Writings, 1968-1979, consist of 3 essays by Loew and tributes written to Sarah Freedman McPherson by Loew and others. Printed material, 1932-1992, consists of clippings, exhibition announcements and catalogs, and a book "The Artist's World" by Fred W. McDarrah. Photographs, 1930-1979, are of Loew, his friends, and his art works. One photograph is of Alfred Jensen, Theodore Schempp, Max Schnitzler, and Loew in Tunis, 1930.

UNMICROFILMED Biographical material incudes curriculum vita, obituaries, and birth announcements of Jonathan Loew, Michael Loew's son. Correspondence is with Willem and Elaine de Kooning. Writings include notes and a transcription of Loew's 1966 MoMA talk Must the Artist Communicate with his Audience, drafts of an article by Loew regarding Joseph Albers NEA and Guggenheim grant applications. Photographs are of Loew, his artwork, and his travels in Mexico as well as a color photograph of Loew and Willem de Kooning in de Kooning's studio taken by Rose Slivka. Artwork includes original off-prints for book covers. Business files relate to the 1939 World's Fair mural commission and include information about gifts of artwork to museums. Financial material includes a sales record book and records of sales with the Marilyn Pearl and Landmark galleries. Also included are literature and directories from the Federation of Modern Painters & Sculptors, exhibition announcements,and newspaper clippings.

Biographical / Historical:

Born in New York City, Michael Loew (1907-1985) studied at the Art Students League from 1926-1929, Academie Scandinave in Paris from 1929-1930, the Hans Hofmann School of Fine Art from 1947-1949, and at the Atelier Fernand Leger from 1949-1950. Loew worked as a stained glass artist from 1926 to 1929, and painted murals with Willem de Kooning for the New York World's Fair of 1939. Between 1956 and 1966, he taught painting at the Portland (Oregon) Art Museum, University of California at Berkeley, and at the School of Visual Arts in New York.

Provenance:

Material on reel N68-94 lent for microfilming 1968 by Michael Loew; approximately 50 letters and an artists' statement were later received in subsequent donations. Additional papers were donated in 1981-1982 by Loew, and in 1994 and 2008 by his widow, Mildred C. Loew, a portion of which was microfilmed on reel 5053. The photograph of Loew and de Kooning taken by Rose Slivka was donated by Loew's niece, Jackie Cohen, in 2007.

Restrictions:

Microfilmed portion must be accessed on film. Use of original papers requires an appointment.

Occupation:

Painters  Search this

Art teachers  Search this

Topic:

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

Identifier:

AAA.loewmich

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e3d9b795-510f-41a5-8709-a30f19d5425a

EDAN-URL:

ead_collection:sova-aaa-loewmich

Creator:

Laderman, Carol  Search this

Extent:

6 Linear feet ((15 boxes and 1 manuscript envelope) and 154 cassette tapes)

Culture:

Malays (Asian people)  Search this

Type:

Collection descriptions

Archival materials

Field notes

Sound recordings

Photographs

Place:

Kampong Merchang (Terengganu)

Malaysia

Date:

1970-2009

Summary:

Carol Laderman was a medical anthropologist best known for her research on Malay traditional medicine. Her work focused on beliefs and practices regarding childbirth and nutrition as well as shamanic healing practices in rural Malaysia. This collection consists of the professional papers of Carol Laderman, medical anthropologist and university professor. The bulk of the collection pertains to her research on childbirth, nutrition, and shamanic healing practices in rural Malaysia. These materials include field notes, surveys, transcripts of Main Peteri ceremonies, grant applications, photographs, and sound recordings. Of special interest are her photographs of midwives and shamans treating patients, including Main Peteri ceremonies, as well as traditional Malay weddings and festivals. Also noteworthy are her recordings of Main Peteri ceremonies and her interviews with midwives and shamans. The collection also contains her unpublished and published writings; her dissertation; a report on her undergraduate fieldwork with pregnant Puerto Rican teenagers; her lecture notes and files as a university professor; files documenting her involvement in professional associations; and correspondence with colleagues.

Scope and Contents:

This collection consists of the professional papers of Carol Laderman, medical anthropologist and university professor. The bulk of the collection pertains to her research on childbirth, nutrition, and shamanic healing practices in rural Malaysia. These materials include field notes, surveys, transcripts of Main Peteri ceremonies, grant applications, photographs, and sound recordings. Of special interest are her photographs of midwives and shamans treating patients, including Main Peteri ceremonies, as well as traditional Malay weddings and festivals. Also noteworthy are her recordings of Main Peteri ceremonies and her interviews with midwives and shamans. The collection also contains her unpublished and published writings; her dissertation; a report on her undergraduate fieldwork with pregnant Puerto Rican teenagers; her lecture notes and files as a university professor; files documenting her involvement in professional associations; and correspondence with colleagues.

Arrangement:

This collection is organized in 8 series: Series 1. Research, 1972, 1975-1977, 1981, 1985, 1987, 2000-2003, undated; Series 2. Writings, 1970, 1975, 1978-2001, 2004, undated; Series 3. Student Files, 1972, 1975, 1979, undated; Series 4. Teacher Files, 1977, 1979-1982, 2001-2002, 2007, undated; Series 5. Correspondence, 1974-1981, 1985-2005, 2009, undated; Series 6. Professional Activities, circa 1981, 1989-1990, 1994, 2004, undated; Series 7. Photographs, circa 1975-1977, circa 1982, undated; Series 8. Sound Recordings, 1976-1977, 1982, 2003, undated.

Biographical/Historical note:

Carol Laderman was a medical anthropologist best known for her research on Malay traditional medicine. Her work focused on beliefs and practices regarding childbirth and nutrition as well as shamanic healing practices in rural Malaysia.

Laderman (née Cohen) was born on October 25, 1932 in Brooklyn, New York. When she was 6, her father changed their family's surname to Ciavati due to his difficulty as a Jew finding an engineering job. Laderman grew up with musical aspirations, intending to become a concert pianist. She attended the High School of Music and Art in Manhattan and majored in music at Brooklyn College. In 1953, she married Gabriel Laderman, a painter and later an art professor. She took a leave from college to follow her husband after he was drafted into the U.S. Army five months following their wedding. Her hiatus from college spanned fifteen years, during which time she had two sons (1958, 1965). She also worked as a legal secretary in Ithaca, New York, and as a social secretary and translator for an opera singer when she and her family lived in Italy.

After returning to New York City, she enrolled in evening classes at Hunter College. Although she planned to resume her studies in music, her academic focus changed after taking an anthropology course taught by medical anthropologist Rena Gropper. In 1972, she earned her B.A. in Anthropology, and with the assistance of a Danforth Foundation Fellowship, she attended graduate school at Columbia University, where she earned her Ph.D. in Anthropology in 1979.

As an undergraduate student, Laderman conducted fieldwork at Mt. Sinai Hospital in New York City (1972-1973), assisting in a project on pregnant teenagers and nutritional health. She was assigned to collect data on Puerto Rican adolescent mothers, which exposed her to humoral beliefs in food, medicine, and people. This experience would later inspire her to conduct her graduate fieldwork on nutrition and childbirth in Malaysia, where humoral beliefs were also held but not well-explored by researchers.

From 1975 to 1977, Laderman and her family lived in Merchang, in Trengganu (now Terengganu), Malaysia. Working under the auspices of the Malaysian Ministry of Health of the Institute for Medical Research, Laderman studied both traditional and hospital-based medicine. As part of her fieldwork, she received training from a hospital to collect blood samples to study the effects of birthing and dietary practices on women's health. She also apprenticed herself to a traditional midwife (bidan kampung), whom she assisted in a number of births. By comparing food ideologies and actual food intake of pregnant and postpartum women, Laderman was able to refute the prevailing view of scholars that malnutrition among rural Malays was largely due to dietary restrictions based on the humoral system. In her dissertation, "Conceptions and Preconceptions: Childbirth and Nutrition in Rural Malaysia," Laderman describes how Malay women adapt their diets to their needs and that their customs allow for interpretation and manipulation. In 1983, a revised version of her dissertation was published as Wives and Midwives: Childbirth and Nutrition in Rural Malaysia.

While seeking to gain an understanding of traditional Malay medicine in its entirety, Laderman also became exposed to theatrical spirit séances known as Main Peteri (also Puteri or Teri). At that time Main Peteri was no longer performed in most Malaysian states but was still thriving in Trengganu and nearby Kelantan. Performed primarily as healing ceremonies by shamans (bomoh), Main Peteri was a last resort for the afflicted. These performances were characterized by entranced patients, spirit possessions, singing, music, dancing, and an audience. Laderman attended and participated in a number of these ceremonies and became a student and adopted daughter to a shaman. She recorded and transcribed several Main Peteri performances and received an NEH grant (1981-1985) to translate the texts. She also returned to Merchang in 1982 to conduct further research on traditional healing ceremonies. In her monograph Taming the Wind of Desire (1991), she discusses Main Peteri and its relationship to the Malay concept of Inner Winds (angin), which determine a person's personality, talents, and drives. In 1987 to 1990, she returned to her musical roots to collaborate with ethnomusicologist Marina Roseman to transcribe, analyze, and interpret the music of Main Peteri. Together, she and Roseman also edited The Performance of Healing (1996). In addition, Laderman became interested in the effects of urbanization and globalization on traditional Malay healing practices, a topic which she addressed in a collection of her writings, The Life and Death of Traditional Malay Medicine (in press).

Laderman was a professor at the Department of Anthropology at City University of New York City College (1990-2010). She was also an associate professor at Fordham University (1982-1990) and taught briefly at Hunter College (1978-1980), Brooklyn College (1979-1980), and Yale University (1980-1982).

She died on July 6, 2010 at the age of 77.

Sources Consulted

[Autobiographical statement], Series 2. Writings, Carol Laderman Papers, National Anthropological Archives, Smithsonian Institution

1972. Carol Laderman, SGS Student, Wins Danforth Fellowship. SGS Newsletter 2(7): 1.

Laderman, Carol. 1983. Wives and Midwives: Childbirth and Nutrition in Rural Malaysia. Berkeley, California: University of California Press.

Laderman, Carol. 1991. Taming the Wind of Desire: Psychology, Medicine, and Aesthetics in Malay Shamanistic Performance. Berkeley, California: University of California Press.

Maizura, Intan. 2003, September 28. A bidan, a bomoh & a New Yorker. Nuance: 16-18.

Roseman, Marina, Laurel Kendall and Robert Knox Dentan. 2011. Obituaries: Carol Laderman (1932-2010). American Anthropologist 113(2): 375-377.

1932 -- Born October 25 in Brooklyn, New York

1953 -- Marries Gabriel Laderman and takes a leave from Brooklyn College

1972 -- Earns B.A. in Anthropology from Hunter College

1972-1973 -- Conducts research at Mt. Sinai Hospital on ethnic eating patterns, food beliefs, and anemia in adolescent Puerto Rican mothers

1975-1977 -- Conducts fieldwork in Merchang in Trengganu, Malaysia

1979 -- Earns Ph.D. in Anthropology from Columbia University

1982 -- Returns to Malaysia to conduct fieldwork on shamanism and trance healing

1982-1988 -- Assistant Professor, Department of Anthropology, Fordham University

1988-1990 -- Associate Professor, Department of Anthropology, Fordham University

1990-2010 -- Professor, Department of Anthropology, City University of New York City College

2010 -- Dies on July 6

Related Materials:

Two videotapes were received with the Carol Laderman papers and transferred to the Human Studies Film Archives.

Some of Laderman's original field recordings are at Columbia University's Center for Ethnomusicology. Copies of those recording are in this collection and are so noted.

Provenance:

These papers were donated to the National Anthropological Archives by Carol Laderman's sons, Raphael and Michael Laderman in 2012.

Restrictions:

The Carol Laderman Papers are open for research. Access to the Carol Laderman Papers requires an appointment.

Rights:

Contact the repository for terms of use. Permission to use sound recordings of Main Peteri ceremonies transcribed and published in Taming the Wind of Desire must be obtained from Columbia University's Center for Ethnomusicology.

Topic:

Traditional medicine  Search this

Shamanism  Search this

Malay language  Search this

Language and languages -- Documentation  Search this

Medical anthropology  Search this

Malays (Asian people) -- Medicine  Search this

Seances  Search this

Pregnancy -- Nutritional aspects  Search this

Midwifery  Search this

Ethnology -- Malaysia  Search this

Genre/Form:

Field notes

Sound recordings

Photographs

Citation:

Carol Laderman Papers, National Anthropological Archives, Smithsonian Institution

Sponsor:

Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.

Identifier:

NAA.2012-09

See more items in:

Carol Laderman Papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw33834bd8d-479d-4d3c-ab0d-97f73a5a3609

EDAN-URL:

ead_collection:sova-naa-2012-09

Interviewee:

Ito, Miyoko, 1918-1983  Search this

Interviewer:

Barrie, Dennis, 1947-  Search this

Subject:

Baum, Don  Search this

Berdich, Vera  Search this

Chapin, Francis  Search this

Cohen, George  Search this

Edmondson, Leonard  Search this

Haley, John  Search this

Hofmann, Hans  Search this

Johnston, Ynez  Search this

Kahn, Max  Search this

Lanyon, Ellen  Search this

Loran, Erle  Search this

Mitchell, Joan  Search this

Moholy-Nagy, László  Search this

Ryder, Worth  Search this

Venturi, Lionello  Search this

Art Institute of Chicago  Search this

Ox-Bow Summer School of Painting  Search this

Smith College  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral History interview with Miyoko Ito, 1978 July 20. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Asian American art  Search this

Asian American artists  Search this

Asian American painters  Search this

Japanese American art  Search this

Japanese American artists  Search this

Japanese American painting  Search this

Women artists  Search this

Women painters  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Theme:

Asian American  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)11656

(DSI-AAA_SIRISBib)216579

AAA_collcode_ito78

Theme:

Asian American

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216579

Artist:

Oskar Kokoschka, British, b. Pochlarn, Austria, 1886–1980  Search this

Medium:

Oil on canvas

Dimensions:

39 1/4 × 29 1/4 in. (99.7 × 74.3 cm)

Type:

Painting

Date:

(1912)

Credit Line:

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

Accession Number:

66.2775

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py26e9845af-6318-4e98-aa2a-c4cb8e118b0e

EDAN-URL:

edanmdm:hmsg_66.2775

Artist:

Henri Matisse, French, b. Le Cateau-Cambrésis, 1869–1954  Search this

Medium:

Bronze

Dimensions:

20 9/16 × 8 7/8 × 10 1/4 in. (52.2 × 22.6 × 26.1 cm)

Type:

Sculpture

Date:

(1910/cast 1953)

Credit Line:

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

Accession Number:

66.3465

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2a7ea0f4c-18ad-446d-83e9-e65d21852736

EDAN-URL:

edanmdm:hmsg_66.3465