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J. Scott Odell folk music collection

Source:
Musical History, Division of (NMAH, SI)  Search this
Musical History, Division of (NMAH, SI)  Search this
Collector:
Odell, Scott, 1935-  Search this
Names:
Bread and Puppet Theater  Search this
Festival of American Folklife  Search this
Smithsonian Folklife Festival  Search this
Porter, Burt, 1937-  Search this
Extent:
18 Cubic feet
Type:
Collection descriptions
Archival materials
Field notes
Audiotapes
Posters
Reports
Correspondence
Photographs
Place:
Appalachian Region
North Carolina
Virginia
Vermont
Date:
1964-1977
Summary:
The J. Scott Odell folk music collection (1945-2016, inclusive) contains AV recordings, photographs, correspondence, writings, and other materials relating to Odell's career at the Smithsonian as a musical instrument conservator and researcher of American music traditions. The collection largely consists of materials relating to Odell's research trips (often combined with personal visits) throughout the Eastern United States. Research strengths of the collection include the history of the Appalachian dulcimer and banjo, the Smithsonian Folkways project "Black Banjo Songsters," musician and poet Burt Porter, and the Bread and Puppet Theater.
Scope/Contents note:
The J. Scott Odell Folk Music Collection, which includes materials dating from 1945-2016, documents the research, professional work, and personal relations of J. Scott Odell (b. 1935). Odell worked at the Smithsonian National Museum of American History (NMAH) as a musical instrument conservator and traveled throughout the Eastern United States documenting a variety of musical instruments and traditions. The collection reflects his research trips and other travels; the development of exhibits and performance of music and dance at the Smithsonian; and the relationships Odell developed with the musicians, craftspeople, informants, and other people he worked with throughout his career.

Research strengths of this collection include notes, photographs, and recordings from Odell's fieldwork; extensive documentation of Odell's work on the Smithsonian Folkways project Black Banjo Songsters, in collaboration with folklorist Cecelia Conway; and materials pertaining to the Bread and Puppet Theater (based in Glover, Vermont). Significant places documented include southwest Virginia (Galax), nearby North Carolina (Shelton-Laurel), the surrounding tri-state area, and Vermont (Glover). Significant individuals represented in the collection include Odell, Burt Porter, Ralph Rinzler, and other well-known musicians. The most prominent instrument information in the collection relates to the banjo and the Appalachian dulcimer, although the American fiddle tradition and other instruments are also represented. Materials include photographs (negatives and prints), field notes, trip reports, correspondence, slides, writings, and AV materials. This collection may also be of interest to researchers of AV history and evolution. The wide variety of formats found in the collection maps the development of popular recording media. The collection includes open-reel tapes, Hi-8 tapes, DATs, mini-DV tapes, Betacam and Betacam SP tapes, VHS and SVHS tapes, cassettes, optical discs, mini-discs, and Zip discs.

This collection was initially established in 2008, when it was transferred from Archives Center at the Smithsonian National Museum of American History (NMAH) to the Ralph Rinzler Folklife Archives & Collections (RRFAC), Center for Folklife and Cultural Heritage (CFCH). (NMAH Archives Center had received the collection from the Division of Musical History.) Since 2008, the collection has been significantly expanded, more than doubling in size between 2008 and 2016. (These additional materials can be found in Series 8, Accruals.) With these deposits, the scope of the collection expanded beyond Odell's Appalachian dulcimer research and instrument conservator duties to include his banjo research, travels, relationships with musicians (particularly Burt Porter), and involvement with the Bread and Puppet Theater.
Arrangement note:
The collection is arranged in eight series as follows: (1) Correspondence, 1963-1978; (2) Folk Instruments Research; (3) Collected Publications and Ephemera; (4) Collecting Trips; (5) Publications; (6) Sound Recordings; (7) Oversize Materials; and (8) Accruals. Within each series and subseries, folders are arranged thematically, alphabetically, and/or chronologically.

Series 1-7 reflect the order of the original transfer from the Archives Center, National Museum of American History. Series 8 (Accruals) encompasses several deposits made by Scott Odell of additional materials between 2011 and 2017. Ralph Rinzler Folklife Archives staff, in collaboration with Odell, imposed order upon Series 8.

Researchers should note that, when performing research in Series 8 (Accruals), they might need to consult multiple boxes, even when working within a single subseries where the intellectual arrangement in the finding aid does not always align with the physical arrangement of the materials. This separation between the intellectual and physical arrangement is due in part to the order in which RRFAC received each deposit, the format of the materials (i.e., papers vs. photographs vs. AV items), and earlier digitization efforts.
Biographical/Historical note:
Jay Scott Odell (b. 1935) was born in St. Paul, Minnesota, to Adalberta Lavoie Odell and Jay Geddes Odell. The family moved frequently throughout his childhood, resulting in Odell having lived at fourteen different addresses and attending seven different schools by the time he graduated high school in 1953. When the family settled in Mamaroneck, New York, in 1950, Odell met poet Peter Kane Dufault, and musician and poet Burt Porter, two figures who would go on to strongly influence his personal and professional development. It was on the advice of Dufault, for example, that Odell apprenticed with harpsichord-maker William Dowd after college.

Odell attended Middlebury College where he met his future wife, Dorothy "Dottie" Hiebert. After graduating in 1957, Hiebert moved to France and Odell took a position on the boat of Dutch writer Jan DeHartog before joining Hiebert to travel Europe. By 1959, they had returned to the United States (Boston, Massachusetts) and married. It was at this point in their lives that they became active in the peace movement and the early Folk Revival. Odell's relationship with Burt Porter continued, and he developed contacts with other musicians including Peter and Polly Gott, Tom "Tom Banjo" Azarian, Mike Seeger, and Tracy Schwartz. The Odells also became involved with the Bread and Puppet Theater group, founded by Peter and Elka Schumann, which established its primary location in Glover, Vermont, near Porter's property.

Odell is particularly notable for his work in musical instrument conservation at the Smithsonian Institution and his involvement in the development of the Smithsonian Folklife Festival. In 1963, following his harpsichord apprenticeship with William Dowd, Odell was hired by the Smithsonian as a musical instrument conservator. Under Cynthia Hoover and C. Malcolm Watkins, he established a restoration workshop for musical instruments at the National Museum of History and Technology, now the National Museum of American History. Over the course of his career, Odell served not only as a conservator but also as head of a technical laboratory and, eventually, as the first director of conservation at the National Museum of American History.

Odell was a key figure in the shifting philosophy of the musical instrument department regarding its collections and acquisition practices. With Hoover, Odell helped establish and facilitate a concert series with the mission of "[taking] the instruments out of their cases and [letting] them sing" – a major innovation in museum programming. Odell's commitment to bringing music history and traditions to life manifested in the expansion of the Smithsonian concert series, his relationship with Ralph Rinzler, and his early involvement with the Festival of American Folklife, now the Smithsonian Folklife Festival.

Although his professional training was in working with historical keyboard instruments, Odell's lifelong interest in traditional and regional music had a significant impact on his career. Between 1964 and 1977, when Odell was head of the laboratory at the Smithsonian Institution's Division of Musical Instruments, he undertook a series of collecting trips throughout the Eastern United States to expand the Division's collection of traditional American instruments.

In 1964, Odell and Porter attended the Annual Galax Old Time Fiddlers Convention. Following this initial trip, Hoover and Watkins supported Odell's efforts to, in addition to acquiring objects for the collection, research and record the cultural contexts of those instruments. Over the course of these trips, Odell built personal relationships with many of the musicians and craftspeople with whom he worked, including the Melton-Russell family, Tommy Jarrell, and Fred Cockerham.

Odell retired in 1993, but continued contract work at the Smithsonian. Working for the National Museum of American History, he assisted with the care and description of the Museum's banjo collection, as well as the acquisition of the Grimes and Jeffries dulcimer collection. He has also maintained associations with the Smithsonian Center for Folklife and Cultural Heritage. In 1998, Odell co-produced a record through Smithsonian Folkways with folklorist Cecelia Conway titled "Black Banjo Songsters," which focused on the African American banjo tradition and featured many of the artists with whom Odell had built relationships.
Related Materials note:
Materials relating to Odell's career at the Smithsonian can also be found in the Smithsonian Institution Archives (SIA), particularly in the records of the NMAH Musical History Division.

Materials relating to the Bread and Puppet Theater can also be found in the archives of the Bread and Puppet Theater (via the Internet Archive); the University of Vermont; and the University of California, Davis.
Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 for additional information.
Rights:
Copyright restrictions apply. Contact the archives staff for information.
Topic:
Folk music—United States  Search this
Stringed instruments  Search this
Fiddle  Search this
Mouth bow  Search this
Folk music  Search this
Musicians  Search this
Banjo  Search this
Appalachian dulcimer  Search this
Folklore  Search this
Genre/Form:
Field notes
Audiotapes
Posters
Reports
Correspondence -- 1930-1950
Photographs -- 1960-1980 -- Black-and-white photoprints -- Silver gelatin
Citation:
J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ODEL
See more items in:
J. Scott Odell folk music collection
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_collection:sova-cfch-odel
Online Media:

Poster advertising Malcolm X memorial in Washington, D.C.

Subject of:
Malcolm X Memorial Committee, American  Search this
Malcolm X, American, 1925 - 1965  Search this
Owned by:
Jan Bailey, American, 1942 - 2010  Search this
Medium:
paper, ink
Dimensions:
H x W: 18 1/4 × 12 in. (46.4 × 30.5 cm)
Type:
posters
Place depicted:
Washington, District of Columbia, United States, North and Central America
Date:
after 1965
Topic:
African American  Search this
Local and regional  Search this
Mass media  Search this
Politics  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.201.6
Restrictions & Rights:
No Known Copyright Restrictions
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera-Political and Activist Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd505512e64-78e0-4a53-af39-d8211527d0d2
EDAN-URL:
edanmdm:nmaahc_2013.201.6

Ethel Payne papers

Creator:
Payne, Ethel L.  Search this
Names:
Carter, Jimmy, 1924-  Search this
Johnson, Lyndon B. (Lyndon Baines), 1908-1973  Search this
Kennedy, John F. (John Fitzgerald), 1917-1963  Search this
Kissinger, Henry, 1923-  Search this
Payne, Ethel L.  Search this
Stokes, Louis, 1925-  Search this
Extent:
0.5 Linear feet (2 boxes)
Type:
Collection descriptions
Archival materials
Awards
Ephemera
Passports
Photographs
Photographic prints
Date:
circa 1960s-1980s
Summary:
The Ethel Payne papers, which date from circa 1960s to 1980s and measure .50 linear feet, document the career of journalist Ethel Payne. The collection is comprised of passports, badges, photographs, press credentials, awards and ephemera.
Scope and Contents note:
This small collection documents the career of Ethel Payne from circa 1960s - 1980s through passports, badges, photographs, press credentials, awards and ephemera.
Arrangement note:
The Ethel Payne papers are arranged into five series:

Series 1: Biographical Series 2: Correspondence Series 3: Travel Series 4: Photographs Series 5: Posters
Biographical/Historical note:
Ethel Payne, born August 14, 1911 was a freelance journalist and the first African American woman to become an international news correspondent. She covered issues pertaining to the political advancement and the social inequality among Blacks in America. An early crusader for African American civil rights, she remained a constant and vigorous political spokesperson in the fight to end racial discrimination. In her thirst for knowledge, and in her desire to share valuable information with the public, Payne, who would later receive international recognition for her endeavors, was dubbed the "First Lady of the Black Press" by the Washington Press Corps, of which she later became president in 1970.

While covering U.S involvement in the Vietnam War, Payne focused on the plight of the Black soldier and how issues, such as racial segregation and discrimination, remained relevant to life back home. In documenting the conditions of these soldiers, her aim was to "fully concentrate on the Negro effort," and to "paint an adequate picture of why they were in Vietnam." Later however, as a writer for the Chicago Defender, she remarked on her experience in covering the war as a failed attempt at reporting the overall immorality of it.

The daughter of a Pullman porter and a stay at home mother of 6, Payne, who desired to become a civil rights leader but was denied entrance into law school on account of her race, discovered her niche in journalism after being jailed for witnessing and questioning the brutal acts performed by a police officer on an African American man. After threatening to report the brutality to the press, she refused her approval for release, remained in jail and advocated for the liberation of the other detainees.

Her break into journalism came when she began organizing recreation and entertainment for African American troops stationed in Japan. In her diary, Payne transcribed accounts of the failed efforts of the U.S military during the war, which had later been published in the Chicago Defender. Despite the discrimination she encountered from high ranking officials in the U.S government, Payne was offered and accepted a full-time position with the Defender in 1951.

Along with her work as a Vietnam War correspondent, Payne became involved in various endeavors to move her career in journalism. During her time as White House correspondent from 1962-1966, Payne led the fight to end the segregation of interstate travel, immigration quotas, and discrimination in federal housing . Ethel was also the first African American woman to host network news by becoming a political commentator for the CBS aired program "Spectrum" in 1972. Persistently involved in international politics, Payne in 1970 completed a 10-nation tour of Africa with Secretary of State William P. Rogers, and a 6-nation tour with Secretary of State Henry Kissinger six years later. She covered several Democratic National conventions, and witnessed President Lyndon B. Johnson's signing of the Civil Rights Act of 1964 and the Voting Rights Act of 1965.

Over her lifetime, she has received dozens of awards and honorable mentions for her political involvement and activism for African Americans, and her legacy continues to live on today. In 2002 the United States Postal Service honored Ethel Payne by issuing her a 37-cent stamp, and each year aspiring journalists wishing to gain experience on international reporting in Africa are awarded the Ethel Payne Fellowship.

On May 28, 1991 Ethel Payne died of a heart attack in her home in Washington, D.C. She is survived by close relatives, as she forfeited marriage and children for the sake of her work. She was commemorated as one of the 100 most influential correspondents by the National Association of Black Journalists, and remained, untill her death, a longtime advocate in the struggle to bring about change, and to correct the inequalities and racial injustices in the world.
Related Materials:
This collection contains artifacts catalogued in the ACM Ojects collection.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Rights:
Ethel Payne papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Topic:
African American journalists  Search this
Politicians -- United States  Search this
African American women  Search this
Genre/Form:
Awards
Ephemera
Passports
Photographs
Photographic prints
Citation:
Ethel Payne papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Avis R. Johnson.
Identifier:
ACMA.06-011
See more items in:
Ethel Payne papers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-06-011

Energy Conservation: Poster showing different types of energy conservation by public

Collection Creator:
American Petroleum Institute.  Search this
Container:
Box 34, Folder 52
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research use. Viewing film portion of collection requires special appointment. See repository for details.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from Archives Center: fees for commercial use.
Collection Citation:
American Petroleum Institute Photograph and Film Collection, 1860s-1990 (bulk 1955-1990), Archives Center, National Museum of American History
See more items in:
American Petroleum Institute Photograph and Film Collection
American Petroleum Institute Photograph and Film Collection / Series 2: Modern Photographs, 1960s-1980s
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0711-ref1796

National Farm Strike [Poster]

Sponsor:
Jefferson County. Office of American Agriculture (Louisville, Georgia)  Search this
Collection Creator:
Archives Center, NMAH, SI.  Search this
Extent:
1 Item (poster)
Container:
Map-folder 4, Item 112
Type:
Archival materials
Political posters
Posters
Date:
1977 December 14
1977
Scope and Contents:
Poster urging support of the National Farm Strike.
Biographical / Historical:
The Jefferson County (Georgia) Office of American Agriculture supported the American Agricultural Movement, which was organized to preserve the family farm system and to seek 100% parity for all agricultural products. The strike resulted when farmers' demands were not met by midnight, December 13, 1977. The strike subsided by March 1978 without the farmers accomplishing their goals.
Local Numbers:
2004.3002 (NMAH Acc.)
Collection Restrictions:
Unrestricted research access on site by appointment.
Collection 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:
Agriculture and state -- Georgia  Search this
Agriculture and politics  Search this
Strikes and lockouts  Search this
Genre/Form:
Political posters
Posters -- 1960-1980
Collection Citation:
Archives Center Poster Collection, 1910s-2001, Archives Center, National Museum of American History.
See more items in:
Archives Center Poster Collection
Archives Center Poster Collection / Series 1: Miscellaneous Posters
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0751-ref522

Benny Goodman Ephemera Collection

Creator:
Edelson, Rachel Goodman  Search this
Brahms, Johannes, 1833-1897  Search this
Source:
Division of Musical History, NMAH  Search this
Former owner:
Division of Musical History, NMAH  Search this
Names:
Goodman, Benny (Benjamin David), 1909-1986  Search this
Extent:
1 Item (1 oversize file folder)
Type:
Collection descriptions
Archival materials
Sheet music
Broadsides
Posters
Place:
Japan -- 1960-1970
Date:
circa 1964
Scope and Contents note:
A poster documenting Goodman's 1964 tour to Japan and the published sheet music for Brahms's QUINTET FOR CLARINET IN A and SONATA FOR CLARINET IN B.
Arrangement:
1 series. Unarranged.
Biographical/Historical note:
Goodman was a big band jazz musician and classically trained clarinetist who studied with James Sylvester and Franz Schoepp; toured Europe, Asia, North and South America, and Russia (1950-64). Recipient of 1982 Kennedy Center Honors Award for his major contribution to "big band"and "swing" jazz and its impact on 20th-century popular American music.
Related Archival Materials:
Related materials accessioned by Division of Musical History as accession no. 1990.0058.
Provenance:
Collection donated by Ms. Rachael Goodman Edelson,and Benjie Goodman Lasseau, May 25, 1990.
Restrictions:
Unrestricted research use on site.
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:
Big bands  Search this
Jazz musicians -- United States  Search this
Clarinetists -- 20th century  Search this
Genre/Form:
Sheet music
Broadsides -- 1940-1980
Posters -- 1960-1980
Citation:
Benny Goodman Ephemera Collection, ca. 1964, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0381
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0381

Hassel Smith papers

Creator:
Smith, Hassel, 1915-2007  Search this
Names:
Gimpel Fils  Search this
New Arts (Art gallery)  Search this
San Francisco Art Institute -- Faculty  Search this
Anglim, Paule  Search this
Bischoff, Elmer, 1916-1991  Search this
Butterfield, Jan  Search this
Emmerich, André  Search this
Fitz Gibbon, John  Search this
Gimpel, Charles  Search this
Still, Clyfford, 1904-  Search this
Still, Patricia  Search this
Swanson, Kathryn  Search this
Thiebaud, Wayne  Search this
Wollard, Robert  Search this
Extent:
4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Sketches
Transcripts
Christmas cards
Photographs
Date:
circa 1900-2004
bulk 1930-1995
Summary:
The papers of Southern California painter and instructor Hassel Smith measure 4 linear feet and date from circa 1900 to 2004 with the bulk of the materials dating from 1930-1995. Found within the papers are correspondence, a transcript of an interview conducted by Jan Butterfield in the 1980s, personal business files, teaching files, writings by Smith and others, sketches, printed materials, and photographs of Smith, his family and friends, and his artwork. There are audio recordings of a lecture series organized by Smith and of reviews of Smith's work. Correspondents include Paule Anglim, Elmer Bischoff, Andre Emmerich, Clyfford Still, Wayne Thiebaud, and many others.
Scope and Content Note:
The papers of Southern California painter and instructor Hassel Smith measure 4 linear feet and date from circa 1900 to 2004 with the bulk of the materials dating from 1930-1995. Found within the papers are correspondence, a transcript of an interview conducted by Jan Butterfield in the 1980s, personal business files, teaching files, writings by Smith and others, sketches, printed materials, and photographs of Smith, his family and friends, and his artwork. There are audio recordings of a lecture series organized by Smith and of reviews of Smith's work. Correspondents include Paule Anglim, Elmer Bischoff, Andre Emmerich, Clyfford Still, Wayne Thiebaud, and many others.

Biographical materials include biographical sketches, curriculum vitae, genealogical materials, ephemera, and personal appointment books from the mid to late 1970s. Also found here is a transcript of an in-depth interview of Smith conducted by Jan Butterfield in the 1980s.

There is personal and professional correspondence with Paule Anglim, Elmer Bischoff, Andre Emmerich, Charles Gimpel of Gimpel Fils, Clyfford and Patricia Still, Kathryn Swanson of the New Arts Gallery, Wayne Thiebaud, family members, and many others.

Personal business records include art sales records, exhibition checklists, conservation and condition reports, and personal finance records. Teaching materials include class schedules, student lists, and syllabi. Also found are notes on topics such as American art and literature, artistic traits and forms, illusion, and women artists.

Writings by Smith include artist statements, creative writings, his thoughts on the art market and art institutions, the San Francisco art community, and social criticism. Writings by others consist primarily of essays about Smith and his work. There are also writings by Smith's friend Robert Wollard. Artwork includes sketches, doodles, and Christmas cards done by Smith, and a handful of artwork by others.

Printed materials include clippings, exhibition announcements and catalogs, and posters. Also found here are printed materials about other artists, schools where Smith enrolled or taught, Smith's general interests, and collages and flyers by Robert Wollard. There is a printed copy of the pictorial edition of the Communist Manifesto edited by Smith and other artists.

Photographic materials are of Smith, family members, artwork, his studio, exhibition openings and other art events, and friends and colleagues. A family photograph dates from circa 1900 and negatives date from 1920. Most of the photographs date from the 1940s through the 1990s.

Sound recordings include 1 sound tape reel of the radio show, Art Review, with host John Fitz Gibbon reviewing Smith's artwork, and nine sound cassettes of student critiques overseen by Smith at the San Francisco Art Institute.
Arrangement:
The collection is arranged into 9 series.

Series 1: Biographical Materials, 1930-2004 (0.25 linear feet; Box 1)

Series 2: Correspondence, 1930s-2003 (1.0 linear foot; Boxes 1-2)

Series 3: Personal Business Materials, 1953-2003 (0.25 linear feet; Box 2)

Series 4: Teaching Materials, 1960s-1980s (18 folders; Box 2)

Series 5: Writings, 1940s-1994 (0.25 linear feet; Box 2)

Series 6: Artwork, 1928-1995 (8 folders; Box 2)

Series 7: Printed Materials, 1928-2003 (1.25 linear feet; Boxes 3-4)

Series 8: Photographic Materials, 1900s-2004 (0.5 linear feet; Box 4)

Series 9: Sound Recordings, 1965-1980 (10 items; Box 4)
Biographical Note:
Hassel Smith (1915-2007) was a California Bay area abstract expressionist painter, painting instructor at the California School of Fine Arts, and a lecturer at the University of California. His students included Roy De Forest, Sonia Gechtoff, and Frank Lobdell. Smith was also associated with the famed Los Angeles Ferus Gallery.

Hassel Smith was born on April 27, 1915, in Sturgis, Michigan, settling later with his family in San Mateo, California. He attended Northwestern University with the intention of becoming a chemist, but switched his majors to English and Art History and graduated in 1936. Returning to California, Smith enrolled at the California School of Fine Arts (CSFA), and studied with the painter Maurice Sterne.

In 1937, he left school and shared housing with his adopted brother Lewis in the Haight-Ashbury district, where he maintained a studio on Steiner Street. At the same time, as a social worker for the California Relief State Administration, he worked with men on "skid row" in San Francisco. Declared 4F by the draft board, Smith served various government agencies during World War II, including the Farm Security Administration and the U.S. Forest Service. During this period, he met and married June Meyers. He later described his government service and social work as having a strong influence on his art and politics.

In 1941, Smith was awarded the Abraham Rosenberg Fellowship from the University of California, Berkeley, which allowed him to travel and paint outdoors at Angel's Camp in the Mother Lode of the Sierra foothills, along with Richard Hackett.

At the end of the war, Smith began teaching at the CSFA, joining faculty members Richard Diebenkorn, David Park, and Clyfford Still. Smith taught there until 1952. His students included Roy De Forest, Sonia Gechtoff, and Frank Lobdell. Smith continued to paint and exhibit work throughout the 1950s, and in 1958 became affiliated with the Ferus Gallery founded by Walter Hopps and Ed Kienholz. His wife June passed away in 1958. One year later, Smith remarried Donna Rafferty Harrington, and they had their son Bruce in 1960.

After an exhibition at the New Arts Gallery in Houston, London-based dealer Charles Gimpel invited Smith to exhibit his work in England. As a result of this, Smith moved to England in 1962, and spent a year living in Mousehole, a fishing village in Cornwall. He moved back to California and between 1963 to 1966 was a visiting lecturer at the University of California, Berkeley and the University of California, Los Angeles. In 1966, Smith accepted a position as Senior Lecturer at the West England College of Art in Bristol, England where he stayed until 1978. He finished his teaching career as a Principal Lecturer at the Cardiff College of Arts in Wales from 1978 to 1979.

Smith spent most of the next two decades painting and exhibiting, which included exhibitions at the Oakland Museum and the San Jose Museum of Art. In 1991, he was awarded an honorary doctorate by the San Francisco Art Institute (formerly the California School of Fine Arts). Due to failing health, Smith was forced to stop painting in 1997. Smith died in 2007 in Warminster, England, at the age of 91.
Related Material:
Also found in the Archives of American Art is an oral history interview with Hassel Smith conducted by Paul Karlstrom, September 5, 1978 and a video interview with Hassel Smith conducted by Paul Karlstrom, January 15, 1986.
Provenance:
Hassel Smith donated most of his papers in several increments between 1980 and 1998. His son Joseph donated audio recordings in 1980, and Hassel Smith's widow Donna donated additional materials in 2004.
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 Hassel Smith papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art teachers -- California -- Berkeley  Search this
Painters -- California  Search this
Topic:
Art -- Study and teaching  Search this
Educators -- California -- Berkeley  Search this
Artists' studios -- Photographs  Search this
Abstract expressionism  Search this
Women artists  Search this
Art -- California -- San Francisco Bay Area  Search this
Art, American  Search this
Genre/Form:
Interviews
Sound recordings
Sketches
Transcripts
Christmas cards
Photographs
Citation:
Hassel Smith papers, circa 1900-2004, bulk 1930-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.smithass
See more items in:
Hassel Smith papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-smithass
Online Media:

Black and white poster of Huey Newton and Bobby Seale

Created by:
Black Panther Party, American, 1966 - 1982  Search this
Subject of:
Dr. Huey P. Newton, American, 1942 - 1989  Search this
Bobby Seale, American, born 1936  Search this
Medium:
lithographic ink on paper
Dimensions:
H x W: 29 x 23 in. (73.7 x 58.4 cm)
Type:
posters
Place depicted:
Oakland, Alameda County, California, United States, North and Central America
Emeryville, Alameda County, California, United States, North and Central America
Date:
ca. 1971
Topic:
African American  Search this
Black power  Search this
Civil Rights  Search this
Justice  Search this
Political organizations  Search this
U.S. History, 1969-2001  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2012.46.20
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera-Political and Activist Ephemera
Movement:
Civil Rights Movement
Exhibition:
A Changing America: 1968 and Beyond
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 1, C1 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd58a70b3e1-decb-4093-b51f-9433d9eea7fb
EDAN-URL:
edanmdm:nmaahc_2012.46.20

Charles D. Clark papers, 1960-1980

Creator:
Clark, Charles D., 1917-1990  Search this
Topic:
Art -- Collectors and collecting  Search this
Prints -- Collectors and collecting  Search this
Record number:
(DSI-AAA_CollID)9313
(DSI-AAA_SIRISBib)211508
AAA_collcode_clarchar
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211508

Neda Al-Hilali Papers, circa 1960-1995

Creator:
Al-Hilali, Neda, 1938-  Search this
Type:
Drawings
Photographs
Sketches
Topic:
Art -- Study and teaching  Search this
Decorative arts  Search this
Fiber artists -- California -- Interviews  Search this
Record number:
(DSI-AAA_CollID)11147
(DSI-AAA_SIRISBib)248738
AAA_collcode_alhineda
Theme:
Craft
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_248738
Online Media:

Todd M. Brennan Collection

Creator:
Brennan, Todd M.  Search this
Community Life, Div. of, NMAH, SI  Search this
Extent:
1 Cubic foot (3 boxes, 10 posters)
Type:
Collection descriptions
Archival materials
Magazines (periodicals)
Scrapbooks
Posters
Date:
1970s
Scope and Contents note:
Comprehensive collection of fan material from the television series "Charlie's Angels"; represents aspects of fan clubs in 20th Century popular culture: seven scrapbooks of the TV series, ten posters of the stars, and four magazines on the tv series.
Arrangement:
Divided into 3 series: (1) Scrapbooks; (2) Posters; (3) Printed Materials.
Provenance:
Collection donated by Todd Brennan, 1983, October 24.
Restrictions:
Collection is open for research.
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:
Television actors and actresses -- 1970-1980  Search this
Topic:
Popular culture -- 1970-1980  Search this
Fan clubs -- 1970-1980  Search this
Television programs -- 1970-1980  Search this
Genre/Form:
Magazines (periodicals) -- 1970-1990
Scrapbooks -- 20th century
Posters -- 1960-1980
Citation:
Todd M. Brennan Collection, 1970s, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0076
See more items in:
Todd M. Brennan Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0076
Online Media:

Posters

Collection Creator:
Hirschfeld, Al  Search this
Extent:
(Oversized items housed in OV3)
Container:
Box 2, Folder 28
Type:
Archival materials
Date:
1960-1980
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Al Hirschfeld papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Al Hirschfeld papers, 1931-1983. Archives of American Art, Smithsonian Institution.
See more items in:
Al Hirschfeld papers
Al Hirschfeld papers / Series 5: Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-hirsal-ref64

Billy Al Bengston papers

Creator:
Bengston, Billy Al  Search this
Names:
Ferus Gallery (Los Angeles, Calif.)  Search this
James Corcoran Gallery  Search this
John Berggruen Gallery (San Francisco, Calif.)  Search this
Martha Jackson Gallery  Search this
Alexander, Peter, 1939-  Search this
Altoon, John, 1925-  Search this
Andre, Carl, 1935-  Search this
Chamberlain, John, 1927-2011  Search this
Diebenkorn, Richard, 1922-1993  Search this
Flavin, Dan, 1933-  Search this
Goode, Joe, 1937-  Search this
Lichtenstein, Roy, 1923-1997  Search this
Motherwell, Robert  Search this
Plagens, Peter  Search this
Ruscha, Edward  Search this
Extent:
10.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Date:
circa 1940s-1989
bulk 1960-1988
Summary:
The papers of southern California Pop artist Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.
Scope and Content Note:
The papers of Billy Al Bengston measure 10.4 linear feet and date from circa 1940s to 1989, with the bulk of the materials dating from 1960 to 1988. The collection documents the life and work of the southern California artist through biographical materials, correspondence, personal business records, gallery and museum files, teaching files, project and commission files, scattered artwork, printed materials, and photographs.

Found within the biographical materials series are three feet of calendars which extensively document Bengston's personal and professional activities for fourteen years, and include ephemera related to these activities. This series also includes health records, wills, and passports.

Correspondence is with galleries, museums, universities, businesses, friends, and colleagues, and primarily concerns exhibitions, sales, consignments, commissions, and Bengston's personal finances. Bengston's relationship with the James Corcoran Gallery, Janie C. Lee Gallery, John Berggruen Gallery, Martha Jackson Gallery, and Texas Gallery are well-documented here, as well as in the Museum and Gallery Files series. Also found is a limited amount of personal correspondence with collectors, researchers, and friends. A few letters from other artists, including Peter Plagens and a letter from Richard Diebenkorn are interfiled here.

Bengston's professional relationships with galleries, museums, and universities are well-documented in the gallery and museum files, including the galleries mentioned above, Ferus Gallery, and others. Lists of consignments and prices, invoices, records of sales, loan agreement forms, shipping receipts, exhibition checklists, and exhibition floor plans provide information about sales, exhibitions, and loans. A few files provide further information about Bengston teaching activities. His personal business records include art sales records, price lists, lists of purchases, records of investment, and personal finance records. Project files include correspondence, notes, and printed materials related to Bengston's commissions for artwork and personal projects, including a book he worked on with Ed Ruscha, Business Cards.

Writings by Bengston include responses to exhibitions of West Coast art and his thoughts on his career, art, the artistic community, motorcycles, as well as a recollection of John Altoon. Also found are questionnaires sent out by Bengston for an art survey, with responses from Peter Alexander, Carl Andre, John Chamberlain, Dan Flavin, Joe Goode, Robert Graham, Roy Lichtenstein, Robert Motherwell, Ed Ruscha, and others. Writings by others consist primarily of exhibition catalog essays, manuscripts of interviews with Bengston, and other writings about Bengston. Also found is an essay by Walter Hopps. Photographs of Bengston include a family picture from the 1940s, Bengston at work on projects in Los Angeles and Syracuse, New York, and Bengston at social events. Other photographs consist of pictures of friends and artists, Bengston's artwork, documentary evidence of damaged artwork, and of commission sites.

Printed materials from the 1960s - 1980s include clippings, full articles, exhibition announcements and catalogs, and posters. They document exhibitions, art in southern California, and society and art events. The collection houses limited amounts of artwork including sketches, cut-outs, doodles and drawings.
Arrangement:
The collection is arranged into 10 series:

Series 1: Biographical Materials, 1958-1987 (Boxes 1-4, 11; 3.7 linear feet)

Series 2: Correspondence, 1966-1989 (Boxes 4-6; 1.75 linear feet)

Series 3: Gallery and Museum Files, 1961-1989 (Boxes 6-7; 1.5 linear feet)

Series 4: Teaching Records, 1968-1982 (Box 7; 7 folders)

Series 5: Personal Business Records, circa 1960-1987 (Boxes 7-8; 1.0 linear foot)

Series 6: Project Files, 1968-1987 (Boxes 8-9; 0.25 linear feet)

Series 7: Writings, 1967-circa 1988 (Box 9, OV 1; 0.25 linear feet)

Series 8: Artwork, 1960s-1987 (Box 9; 7 folders)

Series 9: Printed Materials, 1958-1988 (Boxes 9-10, OV 1-2; 1.25 linear feet)

Series 10: Photographs, circa 1940s-1987 (Box 10; 0.5 linear feet)
Biographical Note:
Billy Al Bengston was born in Dodge City, Kansas on June 7, 1934. After moving back and forth from Kansas to California multiple times, he and his family settled in Los Angeles in 1948. While attending the Manual Arts High School, Bengston became interested in art, especially ceramics. After a brief stint at Los Angeles Junior College, Bengston worked as a beach attendant at Doheny State Beach. While working there he met fellow surfer and future ceramicist Kenneth Price, who became one of Bengston's closest friends. In 1953, he reenrolled in Los Angeles Junior College to study ceramics. For the next four years he attended both the California College of Arts and Crafts and the Los Angeles County Art Institute (now the Otis Art Institute of Parsons School of Design). At these institutions he studied with Richard Diebenkorn, Sabro Hasegawa, Nathan Oliveira, and Peter Voulkos.

Around 1957, Bengston shifted his emphasis from ceramics to painting, and became affiliated with the Ferus Gallery in Los Angeles, founded that same year by Edward Kienholz and Walter Hopps. Bengston's first solo exhibition was held at the Ferus Gallery in 1958, and a second followed in 1960. At this time Bengston began to work with Pop icons combined with Color Field abstractions. His early bold paintings often featured symmetrical strong color compositions with a central image of a valentine, star, cross, chevron, or iris. The irises he called "draculas," after Kenneth Price remarked that they resembled Dracula flying through a window. He first showed his chevron paintings in 1962 at the Martha Jackson Gallery in New York. In the early 1960s, Bengston extended his imagery to the California subculture and created paintings of leisure time activities, focusing on motorcycles, racing, and scuba diving - his own interests as well.

Throughout his career, Bengston experimented with technique and materials. He experimented with automobile lacquer and spray painting techniques associated with car customization. He also used non-traditional surfaces, such as masonite and aluminum. In 1965, Bengston began creating paintings on sheets of aluminum into which he hammered dents and sometimes bent and buckled; these subsequently came to be known as "dentos." Along with painting, Bengston has also created watercolors, ceramics, and furniture. He was also one of the artists selected by Carol and Roy Doumani to design their home.

Bengston first visited Hawaii in 1974, and after several subsequent trips, established a second studio there in 1979. The work Bengston created in the following years was characterized by the use of tropical colors and representational images of running figures, airplanes, and the moon. In 1988, the Contemporary Arts Museum in Houston organized a retrospective entitled "Billy Al Bengston: Paintings of Three Decades," which traveled to the Oakland Museum, the Los Angeles County Museum of Art, and the Contemporary Museum of Art, Honolulu. Bengston also completed several years as an art instructor and lecturer at the Chouinard Art Institute in Los Angeles and The University of California at Los Angeles. Bengston continues to create and exhibit new work.
Related Material:
Found in the Archives of American Art are oral history interviews with Bengston conducted by Susan Larsen, September 9, 1980, and Susan Ford Morgan, August 2-October 7, 2002. Also found are portraits of Bengston in the Photographs of artists taken by Mimi Jacobs collection, and a rare copy of the book Business Cards by Bengston and Ed Ruscha in the Wallace Berman papers.
Provenance:
The collection was donated to the Archives of American Art by Billy Al Bengston in 1990.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Billy Al Bengston papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- California  Search this
Topic:
Works of art  Search this
Art galleries, Commercial  Search this
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Genre/Form:
Interviews
Photographs
Citation:
Billy Al Bengston papers, circa 1940s-1989 (bulk 1960-1988). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bengbill
See more items in:
Billy Al Bengston papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bengbill

Film poster for Right On!

Created by:
Herbert Danska, American, born 1927  Search this
Subject of:
The Last Poets, American, founded 1968  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W: 38 x 25 in. (96.5 x 63.5 cm)
Type:
posters
Place used:
United States, North and Central America
Date:
ca. 1970
Topic:
African American  Search this
Film  Search this
Hip hop (Music)  Search this
Spoken word (Poetry)  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2012.21.6
Restrictions & Rights:
© Herbert Danska
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera-Advertisements
Exhibition:
Now Showing: Posters from African American Movies
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Second Floor, 2 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd56dc343e8-4bb7-42d9-8ce3-9f84c947cf90
EDAN-URL:
edanmdm:nmaahc_2012.21.6
Online Media:

Advertisement for paperback novel Sweet Sweetback's Baadasssss Song

Printed by:
Unidentified  Search this
Subject of:
Melvin Van Peebles, American, born 1932  Search this
Medium:
ink on paper
Dimensions:
H x W: 6 x 16 1/16 in. (15.2 x 40.8 cm)
Type:
posters
Date:
ca. 1971
Topic:
African American  Search this
Blaxploitation films  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2012.82.6
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Classification:
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd501bdd7da-7289-4dcf-a476-d6557a43a9fb
EDAN-URL:
edanmdm:nmaahc_2012.82.6
Online Media:

Neda Al-Hilali Papers

Creator:
Al-Hilali, Neda, 1938-  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Photographs
Sketches
Date:
circa 1960-1995
Summary:
The papers of fiber artist Neda Al-Hilali measure 4.6 linear feet and date from circa 1960 to 1995. Al-Hilali's career is documented through professional files, commission and project files, writings, printed materials, artwork, and photographs. The bulk of the collection consists of Al-Hilali's annual activity files from 1967 to 1992, which contain lists of exhibitions; exhibition announcements, catalogs, invitations, and posters; letters and memoranda; sales records; awards; clippings; photographs; and loan records.
Scope and Contents:
The papers of fiber artist Neda Al-Hilali measure 4.6 linear feet and date from circa 1960 to 1995. Al-Hilali's career is documented through professional files, commission and project files, writings, printed materials, artwork, and photographs. The bulk of the collection consists of Al-Hilali's annual activity files from 1967 to 1992, which contain lists of exhibitions; exhibition announcements, catalogs, invitations, and posters; letters and memoranda; sales records; awards; clippings; photographs; and loan records.

Professional files contain records relating to Al-Hilali's teaching career and exhibition activities. Materials relating to various commissions and projects are scattered but may include photographs of works of art and installations, proposals, and sketches or renderings. Artworks include designs for fiber and metal works, many of which are unlabeled.
Arrangement:
The collection is arranged as six series

Series 1: Professional Files, 1966-1995 (1.4 linear feet; Boxes 1-2, 7-8)

Series 2: Commission and Project Files, circa 1970-1989 (1.0 linear feet; Boxes 2-3, 6)

Series 3: Writings and Notes, circa 1970-circa 1990 (0.2 linear feet; Box 3)

Series 4: Printed Material, circa 1960s-1995 (1.0 linear feet; Boxes 3-4)

Series 5: Artwork, 1960s-1980s (0.3 linear feet; Box 4)

Series 6: Photographs, circa 1960-1990s (0.7 linear feet; Boxes 4-5, 7)
Biographical / Historical:
Neda Al-Hilali (1938- ) is a fiber artist active in California.

Al-Hilali was born in Cheb, formerly Czechoslovakia in 1938. She studied art at Saint Martin's School of Art (London, England), Kunstakademie Muenchen (Munich, Germany), and the University of Baghdad (Baghdad, Iraq). In 1961 she moved to the United States and settled in California where she earned her BA and MA in art from the University of California, Los Angeles. In the 1970s, she began working on large-scale three-dimensional fiber projects, and has also worked on installation and performance pieces using metal, papers, and other materials in addition to fiber. Al-Hilali has taught at various institutions in California including California State University, Los Angeles, Scripps College, and Claremont Graduate School. Her works appear in private and public collections.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Neda Al-Hilali conducted on July 18-19, 2006, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
Provenance:
The papers were donated by Neda Al-Hilali in 2004.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
Unpublished writings by Neda Al-Hilali are publication restricted. Authorization to publish, quote, or reproduce must be obtained from the donor.
Occupation:
Women artists--California--Interviews  Search this
Topic:
Art -- Study and teaching  Search this
Decorative arts  Search this
Fiber artists -- California -- Interviews  Search this
Genre/Form:
Drawings
Photographs
Sketches
Citation:
Neda Al-Hilali papers, circa 1960-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alhineda
See more items in:
Neda Al-Hilali Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-alhineda

Emmett McBain Afro-American Advertising Poster Collection

Topic:
Marlboro (cigarette brand)
Black Folk Us (Chicago arts festival)
Creator:
McBain, Emmett  Search this
Names:
Burrell McBain Advertising (Chicago, Ill.)  Search this
McDonald's Corporation.  Search this
Extent:
0.5 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Advertisements
Posters
Place:
Chicago (Ill.) -- Art festivals -- 1970-1980
Date:
1971 - 1976
Scope and Contents:
This collection contains examples of advertisements done by McBain for McDonald, Malboro, and a Chicago Arts Festival entitled "Black Folk Us." The nine posters in the collection date from 1971 to 1976.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
Emmett McBain has been an art supervisor for the J.W. Thompson advertising agency in Detroit, a creative consultant for Soft Sheen Products, and co-founder of Burrell McBain Advertising in Chicago.
Provenance:
Collection donated by Mr. Emmett McBain in 1985.
Restrictions:
Collection is open for research.
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:
African Americans -- 1970-1980  Search this
Art festivals -- 1970-1980 -- Illinois -- Chicago  Search this
Cigarettes -- advertising -- 1970-1980  Search this
Genre/Form:
Advertisements -- 1950-2000
Posters -- 1960-1980
Citation:
Emmett McBain Afro-American Advertising Poster Collection, 1973-1976, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0192
See more items in:
Emmett McBain Afro-American Advertising Poster Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0192
Online Media:

Posters and Calendars

Collection Creator:
Alexander, Robert  Search this
Temple of Man (Venice, Calif.)  Search this
Container:
Oversize 29
Type:
Archival materials
Date:
1960s-1980s
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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Robert Alexander papers and Temple of Man records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Robert Alexander papers and Temple of Man records, 1938-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Alexander papers and Temple of Man records
Robert Alexander papers and Temple of Man records / Series 5: Printed Material
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-alexbob-ref43

Scarpitta, Salvatore - Castelli Gallery

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box OV 268, Folder
Type:
Archival materials
Date:
1960, 1980, 1982
Collection Restrictions:
Use of original records requires an appointment.
Collection Rights:
The Leo Castelli Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 5: Printed Materials / 5.4: Posters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-leocast-ref12843

Unidentified Posters

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box OV 272, Folder
Type:
Archival materials
Date:
circa 1960-1980s
Collection Restrictions:
Use of original records requires an appointment.
Collection Rights:
The Leo Castelli Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 5: Printed Materials / 5.4: Posters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-leocast-ref12858

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