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Oak Flat: A Fight for Sacred Land in the American West with Author Lauren Redniss

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2021-11-17T17:14:22.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_8RX2v9Qy9-M

The History of Carnegie Hill Lecture with Keith Taillon of KeithYorkCity

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Lectures
YouTube Videos
Uploaded:
2022-10-27T14:29:38.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_N6AcfZCSzWI

Visualizing the Pandemic | Parsons School of Design & Cooper Hewitt Master's Program

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2022-05-02T11:09:26.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_P2qg_IP5kQs

W.E.B. Du Bois: Recharting Modern Design

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2022-02-10T18:59:27.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_PZ0eCq_vKUg

Design Talk | Trude Guermonprez and Lanette Scheeline: Breaking Boundaries with Design

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2019-12-18T22:58:37.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_G180XN9mjhQ

Esta Nesbitt papers

Topic:
Everyman (motion picture)
Creator:
Nesbitt, Esta  Search this
Names:
Parsons School of Design -- Faculty  Search this
Whitney Museum of American Art  Search this
Xerox Corporation  Search this
Ambert, Anibal  Search this
Beckett, Samuel, 1906-1989  Search this
Einstein, Albert, 1879-1955  Search this
English, Merle  Search this
Ginsberg, Allen, 1926-  Search this
Leder, Alan J.  Search this
Lyle, David  Search this
Wood, R. F.  Search this
Extent:
10.05 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Date:
circa 1942-1981
bulk 1964-1975
Summary:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York  Search this
Topic:
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Women filmmakers  Search this
Women illustrators  Search this
Women educators  Search this
Genre/Form:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Citation:
Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesbesta
See more items in:
Esta Nesbitt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c57916c9-f891-4116-a32d-d1f4e83c624f
EDAN-URL:
ead_collection:sova-aaa-nesbesta
Online Media:

Oral history interview with Shirley Jaffe

Interviewee:
Jaffe, Shirley, 1923-2016  Search this
Interviewer:
Berman, Avis  Search this
Creator:
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Names:
Brooklyn Museum  Search this
Cooper Union for the Advancement of Science and Art -- Students  Search this
Elizabeth Murray Oral History of Women in the Visual Arts Project  Search this
Phillips Collection  Search this
Solomon R. Guggenheim Museum  Search this
Biala, Janice, 1904-2000  Search this
Delaney, Beauford, 1901-  Search this
Dickinson, Edwin Walter, 1891-1978  Search this
Ford, Hermine  Search this
Francis, Sam, 1923-1994  Search this
Goldberg, Michael, 1924-2007  Search this
Mitchell, Joan, 1926-1992  Search this
Riopelle, Jean Paul  Search this
Extent:
1 Item (Sound recording, master: 1 compact disc, 3 WMA files (4 hr., 28 min.), digital, 2 5/8 in.)
94 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2010 Sept. 27-28
Scope and Contents:
An interview of Shirley Jaffe conducted 2010 Sept. 27 and 28, by Avis Berman, for the Archives of American Art's Elizabeth Murray Oral History of Women in the Visual Arts project, at Jaffe's studio, in Paris, France.
Jaffe speaks of living with her family in Elizabeth, NJ and Brooklyn, NY; attending Abraham Lincoln High School, Parsons School of Design, Brooklyn College, and The Cooper Union for the Advancement of Science and Art; visiting the Brooklyn Museum, the Museum of Non-Objective Art (now the Solomon R. Guggenheim Museum), and The Museum of Modern Art; living on St. Mark's Place and in Brooklyn, NY ; her marriage in 1949 to Irving Jaffe; moving to Washington, DC and visiting The Philips Collection; moving to and adjusting to life in France; socializing with American artists in Paris, France; moving between New York and France; working and living in Berlin, Germany with a grant from the Ford Foundation; living independently in France; visiting the cathedrals and galleries in Italy; teaching undergraduate students; the evolution of her paintings and technique; her painting process and use of cellophane; painting on glass; murals; and her exhibitions and commissions. Jaffe also recalls Leon Friend, Morris Kantor, Pierre Bonnard, Karl Knaths, Max and Esther Gould, Jules Olitski, Michael Goldberg, Joan Mitchell, Beauford Delaney, Sam Francis, Janice Biala, Hermine Tworkov Ford, Edwin Dickinson, Jean-Paul Riopelle, Kimber Smith, Jean Fournier, Al Held, Haywood Bill Rivers, Milton Glaser, and others.
Biographical / Historical:
Shirley Jaffe (1923-2016) was an abstract painter and sculptor in Paris, France. Avis Berman (1949- ) is a scholar in New York, N.Y.
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.
Rights:
Transcript: Authorization to quote or reproduce for the purposes of publication requires written permission from Jerome Sternstein. Contact Reference Services for more information.
Occupation:
Painters -- France -- Paris  Search this
Sculptors -- France -- Paris  Search this
Art dealers -- France -- Paris  Search this
Topic:
Expatriate artists -- France -- Paris  Search this
Painting -- Equipment and supplies  Search this
Painting -- Technique  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.jaffe10
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9edb9d6d9-1775-4e7a-987d-adae36dc4a6e
EDAN-URL:
ead_collection:sova-aaa-jaffe10

Fairfield Porter papers

Creator:
Porter, Fairfield  Search this
Names:
Hirschl & Adler Galleries  Search this
Tibor de Nagy Gallery  Search this
Brainard, Joe, 1942-  Search this
Burkhardt, Rudy  Search this
Button, John, 1929-1982  Search this
Day, Lucien B., 1916-  Search this
Downes, Rackstraw  Search this
Elmslie, Kenward  Search this
Evergood, Philip, 1901-1973  Search this
Frielicher, Jane  Search this
Giardelli, Arthur  Search this
Guest, Barbara  Search this
Hartl, Léon, 1889-  Search this
Hess, Thomas B.  Search this
Katz, Alex, 1927-  Search this
Koch, Kenneth, 1925-  Search this
Laning, Edward, 1906-1981  Search this
Lichtenstein, Roy, 1923-1997  Search this
Morse, Carl  Search this
Myers, John Bernard  Search this
O'Hara, Frank, 1926-1966  Search this
Padgett, Ron  Search this
Porter, Ruth W., 1875-1942  Search this
Rivers, Larry, 1925-  Search this
Schloss, Edith, 1919-  Search this
Schuyler, James  Search this
Shapiro, David, 1947-  Search this
Stankiewicz, Richard, 1922-  Search this
Vasilieff, Nicholas  Search this
Extent:
9.3 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Sketches
Sketchbooks
Photographs
Date:
1888-2001
bulk 1924-1975
Summary:
The papers of New York-based painter, lithographer, art critic, and poet Fairfield Porter measure 9.3 linear feet and date from 1888 to 2001, with the bulk of material dating from 1924 to 1975. Papers document Porter's life and career through correspondence, writings, business records, printed materials, photographs, and artwork.
Scope and Content Note:
The papers of New York-based painter, lithographer, art critic, and poet Fairfield Porter measure 9.3 linear feet and date from 1888 to 2001, with the bulk of material dating from 1924 to 1975. The collection includes a biographical chronology; certificates, awards, and diplomas; letters to Fairfield and Anne Porter; scattered outgoing correspondence; and reviews, essays, notes, poems, and translations written by Porter and others. Among the writings are poetry manuscripts written by several New York School Poets including Frank O'Hara, James Schuyler, and Kenneth Koch. Also found are gallery records, inventories and appraisals, financial records, exhibition catalogs, clippings, posters, and records of Anne Porter's efforts to place his collection and document and publish his work after his death. Photographs of Porter, his homes, and his family are also present, as well as sketchbooks, loose sketches, and drawings spanning his entire career.

Significant correspondence is present from the Porters' many poet friends, including Kenneth Koch, James Schuyler, Ron Padgett, Kenward Elmslie, Barbara Guest, Carl Morse, David Shapiro, and others. Among the letters are poetry manuscripts by Koch, Morse, Schuyler, Padgett, and Shapiro. Some letters are actually written in verse, especially those from Kenneth Koch.

Artists with letters in the collection include Joe Brainard, Rudy Burkhardt, John Button, Lucien Day, Rackstraw Downes, Philip Evergood, Jane Frielicher, Arthur Giardelli, Leon Hartl, Alex Katz, Edward Laning, Roy Lichtenstein, Larry Rivers, Richard Stankiewicz, Nicolas Vasilieff, among others. Other art world figures represented include John Bernard Myers, curator at the Tibor de Nagy gallery (New York), and Tom Hess, editor of ArtNews. Artwork found within the correspondence includes an illustrated letter from Ron Padgett and an original print on a holiday card by Edith Schloss.
Arrangement:
The collection is arranged into the following nine series. See the series descriptions below for more information about the content of each series.

Missing Title

Series 1: Biographical Materials, 1916-1975 (Box 1 and 11; 0.2 linear feet)

Series 2: Correspondence, 1918-1996 (Boxes 1-2; 1.2 linear feet)

Series 3: Writings by Fairfield Porter, 1924-1975 (Box 2; 0.6)

Series 4: Writings by Others, 1888-1992 (Boxes 2-3; 0.7 linear feet)

Series 5: Personal Business Records, 1944-1996 (Boxes 3-4; 1 linear foot)

Series 6: Anne Porter's Posthumous Projects, 1980-1988 (Box 4; 0.2 linear feet)

Series 7: Printed Materials, 1934-2001 (Boxes 4-6 and 11; 1.5 linear feet)

Series 8: Photographs, circa 1880-1990 (Boxes 6 and 11; 0.6 linear feet)

Series 9: Artwork, 1918-1975 (Boxes 7-10 and 12-17; 2.2 linear feet)
Biographical Note:
Fairfield Porter was born near Chicago in 1907, the fourth of five children of James and Ruth Furness Porter. His father was an architect, his mother a poet from a literary family, and Porter grew up in an environment where art and literature were highly valued. His father designed the family homes in Winnetka, Illinois and on Great Spruce Head Island, an island in Maine that he purchased for the family in 1912. Fairfield Porter spent summers there from the age of six, and views of the island, its structures, and neighboring towns were the subjects of many paintings.

Porter attended Harvard from 1924 to 1928, studying fine art with Arthur Pope and philosophy with Alfred North Whitehead. After graduating from Harvard, Porter moved to New York City and took studio classes at the Art Students League from 1928 until 1930, studying with Boardman Robinson and Thomas Hart Benton, and immersing himself in the art and radical politics of Greenwich Village. In the 1940s, he studied at Parson's School of Design with art restorer Jacques Maroger, adopting the Maroger recipe for an oil medium in his own painting.

To further his education as an artist, Porter traveled to Europe in 1931, where he spent time with expatriate art theorist Bernard Berenson and his circle. When he returned to New York, he allied himself with progressive, socialist organizations, and like many of his contemporaries, worked at creating socially relevant art. He did artwork for the John Reed Club, a communist group; taught drawing classes for Rebel Arts, a socialist arts organization; wrote for their magazine, Arise!; and created a mural for the Queens branch of the Socialist Party. Living in the Chicago area for several years in the 1930s, he illustrated chapbooks for the socialist poet John Wheelwright's Poems for a Dime and Poems for Two Bits series. Porter's financial contributions to the radical Chicago publication Living Marxism kept it afloat for several years.

In 1932, Porter married Anne Channing, a poet from Boston, and they settled in New York. The Porters had five children, and their first son, born in 1934, suffered from a severe form of autism. In the next decade, they had two more sons, and spent three years in Porter's hometown of Winnetka, where he had his first solo exhibition of paintings. When they returned to New York in 1939, the Porters became friends with Edwin Denby, Rudy Burkhardt, and Elaine and Willem de Kooning. Porter became an earnest admirer of Willem de Kooning's artwork and was among the first to review and purchase it.

In 1949, the Porters moved to the small, seaside town of Southampton, New York. Their two daughters were born in 1950 and 1956. Like the family home on Great Spruce Head Island, Southampton became the setting of many of Porter's paintings. In fact, almost all of his mature paintings depict family homes, surrounding landscapes, family members, and friends. Porter was an individualistic painter who embraced figurative art in the late 1940s and 1950s, when abstract expressionism was the prevailing aesthetic trend. Porter once made a comment that his commitment to figurative painting was made just to spite art critic Clement Greenberg, a respected critic and ideologue who had championed abstract expressionism and denigrated realism as passé.

Porter established his reputation as a painter and as a writer in the 1950s. John Bernard Myers of the vanguard Tibor de Nagy gallery gave Porter his first New York exhibition in 1951 and represented him for the next twenty years. That same year Tom Hess, editor of ArtNews, hired Porter to write art features and reviews. Porter went on to contribute to ArtNews until 1967 and also became art editor for The Nation beginning in 1959, the same year his article on Willem de Kooning won the Longview Foundation Award in art criticism. As a critic, Porter visited countless galleries and studios, and he gained a reputation for writing about art with the understanding and vested interest of an artist, and with the same independence from fashionable ideas that he demonstrated in his artwork.

The 1950s and 1960s were prolific years for Porter's writing and art, and saw the development of his critical ideas and the maturation of his painting. Porter enjoyed an elder status among a circle of younger artists such as Jane Freilicher, Larry Rivers, and Alex Katz, and their many poet friends, now known as the New York School of Poetry: Frank O'Hara, John Ashbery, James Schuyler, Kenneth Koch, Barbara Guest, and others. Porter himself wrote poetry and was published in the 1950s, sometimes alongside poems by his wife, who had been publishing poetry since the 1930s (twice in the vanguard Chicago journal, Poetry). The Porters' correspondence is laced with poems they and their friends sent back and forth, often about and dedicated to each other.

Besides his annual exhibitions at Tibor de Nagy and later Hirschl and Adler Galleries, Porter exhibited regularly at the Whitney, and had one-man exhibitions at many museums including the Rhode Island School of Design (1959), The University of Alabama (1963), Cleveland Museum of Art (his first retrospective, 1966), Trinity College (1967), the Parrish Art Museum (1971), the Maryland Institute of Art (1973), and the 1968 Venice Biennale. He also had residencies at the Skowhegan School of Painting and Sculpture (1964) and Amherst College (1969). Porter died in 1975 at age 68. A full-scale retrospective of his artwork was held at the Boston Museum of Fine Art, Boston in 1983, and a study center and permanent home for his artwork was established at the Parrish Art Museum in Southampton through a donation made by Anne Porter. A posthumous collection of his poems was published by Tibor de Nagy Editions in 1985, and a catalogue raisonnée, edited by Joan Ludman, was published in 2001.

This biography relies heavily on information found in Justin Spring's biography of Porter, Fairfield Porter: A Life in Art (Yale University Press, 2000).
Related Material:
The Archives of American Art holds an oral history of Fairfield Porter conducted by Paul Cummings in 1968.
Provenance:
The papers of Fairfield Porter were given to the Archives of American Art by the artist's wife, Anne Porter, in five separate accessions between 1977 and 1997.
Restrictions:
The bulk of this collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
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:
Art critics -- New York (State) -- Southampton  Search this
Topic:
Works of art  Search this
Painters -- New York (State) -- Southampton  Search this
Painting, Modern -- 20th century  Search this
Poets  Search this
Lithographers -- New York (State)  Search this
Genre/Form:
Travel diaries
Sketches
Sketchbooks
Photographs
Citation:
Fairfield Porter papers, 1888-2001 (bulk 1924-1975). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.portfair
See more items in:
Fairfield Porter papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c9535998-330e-4c23-9f84-9c4dff3569e5
EDAN-URL:
ead_collection:sova-aaa-portfair
Online Media:

Saul Nesbitt Papers

Creator:
Nesbitt, Saul, 1920-1993  Search this
Names:
Archway Cookies, Inc.  Search this
Borden's Farm Products Co. of Illinois  Search this
Campbell Soup Company  Search this
Cooper-Hewitt Design Archive  Search this
Eastman Kodak Company  Search this
Florists' Telegraph Delivery Association  Search this
Franco American Food Co.  Search this
Lever Brothers and Unilever, ltd.  Search this
National Distillers and Chemical Corporation  Search this
Nesbitt Associates, Ltd.  Search this
P. Ballantine & Sons  Search this
Philip Morris Incorporated  Search this
Revlon, Inc.  Search this
Schick (Firm)  Search this
Scott Paper Company  Search this
Seagram Company  Search this
Collector:
Cooper-Hewitt Design Archive  Search this
Extent:
3.5 Cubic feet (11 boxes)
Type:
Collection descriptions
Archival materials
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs
Media lists
Blueprints
Drawings
Clippings
Client lists
Date:
1951-1984
Scope and Contents:
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.

He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.

He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.

Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Related Materials:
Materials in the Archives Center

NMAH.AC.0367 Campbell Soup Advertising Oral History and Documentation Project

NMAH.AC.0552 Caroline R. Jones Papers

NMAH.AC.0060 Warshaw Collection of Business Americana

NMAH.AC.0939 Revlon, Incorporated Advertising Collection

NMAH.AC.0561 Albert W. Hampson Commercial Artwork Collection

Materials at the Smithsonian Institution

Archives of American Art, Esta Nesbitt Papers, circa 1942-1981

Smithsonian Institution Archives, Archives Collection Management Records, 1989-2006
Provenance:
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. 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.
Occupation:
Industrial designers  Search this
Packaging designers  Search this
Graphic designers  Search this
Topic:
Consumers -- Research  Search this
Consumers' preferences -- United States  Search this
Housewives as consumers  Search this
Labels -- Design  Search this
Corporate image -- Design  Search this
Logos (Symbols) -- Design  Search this
Graphic arts -- United States  Search this
Design, Industrial -- United States  Search this
Packaging -- Design  Search this
Genre/Form:
Slides
Sketches
Transparencies
Press releases
Correspondence
Photographs -- 20th century
Media lists
Blueprints
Drawings
Clippings
Client lists
Citation:
Saul Nesbitt Papers, 1951-1984, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1275
See more items in:
Saul Nesbitt Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep857e2f039-d3d5-4307-a474-a5e5072e4e74
EDAN-URL:
ead_collection:sova-nmah-ac-1275

Collecting Digital Design Histories

Author:
Lipps, Andrea  Search this
Walthew, Jessica  Search this
Object Type:
Smithsonian staff publication
Year:
2022
Citation:
Lipps, Andrea and Walthew, Jessica. 2022. Collecting Digital Design Histories [presentation]. Graphic Design Histories graduate course, April 6, 2022. Virtual: Parsons School of Design.
Identifier:
167129
Data source:
Smithsonian Libraries and Archives
EDAN-URL:
edanmdm:slasro_167129

Delegate

Published by:
MelPat Associates, American, 1965 - 1986  Search this
Created by:
C. Melvin Patrick, American, died 1985  Search this
Subject of:
National Association for the Advancement of Colored People, American, founded 1909  Search this
National Urban League, American, founded 1910  Search this
Sigma Phi Rho Fraternity, American, founded 1978  Search this
National Association for Equal Opportunity in Higher Education, American, founded 1969  Search this
Association of Black Women Attorneys, American, founded 1976  Search this
National Urban Affairs Council, American, founded 1971  Search this
Raymond A. Jordan Jr., American, born 1943  Search this
National Association of Market Developers, American, founded 1953  Search this
The Links, Incorporated, American, founded 1946  Search this
Northside Center for Child Development, Inc., founded 1946  Search this
National Newspaper Publishers Association, American, founded 1827  Search this
Prince Hall Freemasonry, founded 1784  Search this
Chi Delta Mu Fraternity, Inc., American, founded 1913  Search this
Top Ladies of Distinction, Inc., American, founded 1964  Search this
Lambda Kappa Mu Sorority, Inc., American, founded 1937  Search this
Carats, Inc., American, founded 1959  Search this
Chi Eta Phi Sorority, Inc., American, founded 1932  Search this
National United Church Ushers Association of America, Inc., American, founded 1919  Search this
Iota Phi Lambda Sorority, Inc., American, founded 1929  Search this
National Medical Association, American, founded 1895  Search this
Dr. Leslie L. Alexander, Jamaican American, 1917 - 2002  Search this
Smithsonian Institution, American, founded 1846  Search this
National Sorority of Phi Delta Kappa, Inc., American, founded 1923  Search this
Morehouse College, American, founded 1867  Search this
Delta Sigma Theta Sorority, American, founded 1913  Search this
Shriners International, American, founded 1870  Search this
Dr. Benjamin Elijah Mays, American, 1894 - 1984  Search this
Count Basie, American, 1904 - 1984  Search this
National Coalition of 100 Black Women, American, founded 1981  Search this
National Bankers Association, American, founded 1927  Search this
369th Veterans Association, American  Search this
One Hundred Black Men, Inc., American, founded 1963  Search this
Association for the Study of African American Life and History, American, founded 1915  Search this
Signed by:
Alpha Phi Alpha Fraternity, Inc., American, founded 1906  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 10 13/16 × 8 7/16 × 9/16 in. (27.5 × 21.4 × 1.5 cm)
Type:
magazines (periodicals)
Place made:
Harlem, New York City, New York, United States, North and Central America
Place depicted:
Martha's Vineyard, Oak Bluffs, Dukes County, Massachusetts, United States, North and Central America
Washington, District of Columbia, United States, North and Central America
Date:
1985
Topic:
African American  Search this
Advertising  Search this
Associations and institutions  Search this
Black Enterprise  Search this
Black Press  Search this
Business  Search this
Communities  Search this
Fraternal organizations  Search this
Fraternities  Search this
Government  Search this
HBCUs (Historically Black Colleges and Universities)  Search this
Journalism  Search this
Labor  Search this
Mass media  Search this
Men  Search this
Political organizations  Search this
Politics  Search this
Professional organizations  Search this
Religion  Search this
Social life and customs  Search this
Sororities  Search this
U.S. History, 1969-2001  Search this
Urban life  Search this
Women  Search this
Women's organizations  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Anne B. Patrick and the family of Hilda E. Stokely
Object number:
2012.167.19
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5ee110782-b949-43b4-bbec-56a00d4f086e
EDAN-URL:
edanmdm:nmaahc_2012.167.19
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  • View <I>Delegate</I> digital asset number 1

Parsons School of Design Proposal for Lawrence Scholars Program

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 23, Folder 9
Type:
Archival materials
Date:
2003
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 9: Jacob and Gwendolyn Knight Lawrence Foundation and Related Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw937e4be35-0f70-43b4-a72a-a8e36f7c01bf
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref1228

Parsons School of Design

Collection Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Container:
Box 12, Folder 42
Type:
Archival materials
Date:
2002-2004
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Jacob Lawrence and Gwendolyn Knight papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b216e9fb-56a3-4d3c-a61e-348a74ec5e49
EDAN-URL:
ead_component:sova-aaa-lawrjaco-ref924

Charles W. White papers

Creator:
White, Charles, 1918-1979  Search this
Names:
Belafonte Enterprises  Search this
Heritage Gallery  Search this
Otis Art Institute  Search this
Barthé, Richmond, 1901-1989  Search this
Catlett, Elizabeth, 1915-2012  Search this
White, Frances Barrett  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Scrapbooks
Date:
1933-1987
bulk 1960s-1970s
Summary:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Scope and Contents:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.
Arrangement:
The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.
Related Materials:
The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Separated Materials:
The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.
Provenance:
Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- California -- Los Angeles  Search this
Printmakers -- California -- Los Angeles  Search this
Educators -- California -- Los Angeles  Search this
Topic:
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American printmakers  Search this
Genre/Form:
Interviews
Sound recordings
Scrapbooks
Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitchar
See more items in:
Charles W. White papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648
EDAN-URL:
ead_collection:sova-aaa-whitchar
Online Media:

Otis Art Institute, Transfer of Charter to Parsons School of Design

Collection Creator:
White, Charles, 1918-1979  Search this
Container:
Box 7, Folder 28
Type:
Archival materials
Date:
1979
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
See more items in:
Charles W. White papers
Charles W. White papers / Series 5: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95922ff4f-f004-4766-adce-6704a59c9970
EDAN-URL:
ead_component:sova-aaa-whitchar-ref324

Oversize Otis Art Institute, Printed Materials, Newspaper Clippings

Collection Creator:
White, Charles, 1918-1979  Search this
Container:
Box 13, Folder 16
Type:
Archival materials
Date:
1972-1978
Scope and Contents:
Relate to transfer of charter for Otis Art Institute to Parsons School of Design.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
See more items in:
Charles W. White papers
Charles W. White papers / Series 5: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96ead3eb5-0325-4bed-aa7a-b8750534ea2d
EDAN-URL:
ead_component:sova-aaa-whitchar-ref346

Otis Art Institute, Transfer of Charter to Parsons School of Design

Collection Creator:
White, Charles, 1918-1979  Search this
Container:
Box 7, Folder 27
Type:
Archival materials
Date:
1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
See more items in:
Charles W. White papers
Charles W. White papers / Series 5: Teaching Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f708c721-fb1f-4bdf-a748-04e5a89307cc
EDAN-URL:
ead_component:sova-aaa-whitchar-ref355

Resume

Collection Creator:
Reid, Robert Dennis, 1924-2000  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
circa 1960s
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Dennis Reid papers, 1961-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Dennis Reid papers
Robert Dennis Reid papers / Series 1: Biographical Information
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c3396dfa-8bda-401f-bb3f-b0ac10b431ab
EDAN-URL:
ead_component:sova-aaa-reidrobd-ref13
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  • View Resume digital asset number 1

Exhibition Announcements and Catalogs

Collection Creator:
Reid, Robert Dennis, 1924-2000  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
1961-1975, circa 1960s-1970s
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Dennis Reid papers, 1961-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Dennis Reid papers
Robert Dennis Reid papers / Series 3: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d0c0296f-65a5-47fe-b3c6-90b4ab171d42
EDAN-URL:
ead_component:sova-aaa-reidrobd-ref21
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  • View Exhibition Announcements and Catalogs digital asset number 1
  • View Exhibition Announcements and Catalogs digital asset number 2
  • View Exhibition Announcements and Catalogs digital asset number 3

Exhibition Press Releases

Collection Creator:
Reid, Robert Dennis, 1924-2000  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Date:
1964, 1971, 1974
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Dennis Reid papers, 1961-1977. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Dennis Reid papers
Robert Dennis Reid papers / Series 3: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e650e1ee-a36a-4322-9bfe-4703435154ee
EDAN-URL:
ead_component:sova-aaa-reidrobd-ref22
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  • View Exhibition Press Releases digital asset number 1

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