The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Scope and Contents:
The papers of Hungarian-born artist, art theorist, and educator, Gyorgy Kepes, measure 21.2 linear feet and date from 1909-2003, with the bulk of the material dating from the 1935-1985. The papers document Kepes's career as an artist and educator, and as founder of the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (M.I.T.), through biographical material, correspondence, writings by Kepes and others, project files, exhibition files, printed material, sketchbooks, artwork, sound recordings and motion picture films, and photographic material.
Correspondence provides a wide range of documentation on all aspects of Kepes's career including his collaborations and friendships with artists, architects, writers, scientists, and fellow educators including Rudolf Arnheim, Alexander Calder, Henry Dreyfuss, Charles and Ray Eames, Clive Entwhistle, R. Buckminster Fuller, Walter Gropius, S. W. Hayter, Jean Hélion, Laszlo and Sibyl Moholy-Nagy, Lev Nussberg, Robert Osborn, George Rickey, Saul Steinberg, Kenzo Tange, Robert Jay Wolff, and Jekabs Zvilna. Correspondence also documents the evolution of Kepes's vision for the Center for Advanced Visual Studies, which he established in 1967, and his subsequent leadership of CAVS at M.I.T. Records document his collaborations with students and fellows including Lowry Burgess, Jack Burnham, Piotry Kowalski, Margaret Mead, Otto Piene, Alan Sonfist, Athena Tacha, Vassilakis Takis, Philip Thiel, Harold Tovish, and Wen-Ying Tsai. Correspondents also include people who contributed to Kepes's Vision + Value series, including Michael Blee, Kazuhiko Egawa, Jean Hélion, and others. Correspondence includes three motion picture films, including what appears to be an early version of Powers of Ten by Charles and Ray Eames.
Writings include notes and manuscripts for articles and essays in which Kepes explored ideas evident in his books The New Landscape and Language of Vision, and submitted to publications such as Daedalus, Design, Domus, and Leonardo. Writings also include manuscripts for lectures, and draft manuscripts documenting Kepes's collaborative work with fellow M.I.T. professor Kevin Lynch on city planning, which culminated in Lynch's research project "The Perceptual Form of the City."
A small group of "Times Square Project" files documents Kepes's proposal for a lightscape in Times Square that was ultimately not realized.
Teaching files include sound recordings of circa five symposia and discussions held at M.I.T., the Illinois Institute of Technology, and elsewhere, some featuring Kepes and including Philip Johnson, Eero Saarinen and others.
Exhibition files include documentation of three exhibitions, including Light as a Creative Medium (1968) and a Kepes exhibition at Saidenberg Gallery (1968). They also record Kepes's involvement in designing the 1968 Triennale di Milano.
Printed material includes a substantial collection of announcements and catalogs for Kepes exhibitions, lectures, and other events, and includes catalogs and announcements for scattered exhibitions of his wife, artist and illustrator, Juliet Kepes. Clippings from newspapers and magazines include articles about Kepes, and contain some copies of published writings and designs by him. The series also includes sound recordings and motion picture films containing original material for a CBS television series "The 21st Century," probably as part of the episode "Art for Tomorrow," which appear to feature M.I.T. fellows Jack Burnham and Vassilakis Takis. Another motion picture film of an Italian documentary "Operazione Cometa" can also be found here.
Two sketchbooks contain pen and ink and painted sketches by Kepes. Artwork by Kepes includes original poster designs, caricatures, and many pencil, and pen and ink sketches and paintings on paper and board, including designs for stained glass. Artwork by others includes ink on mylar sketches by D. Judelson and Konstancija Brazdys, and a sketch by Harold Tovish. Also found are circa seventeen motion picture films and four sound recordings, the majority of which are untitled and by unidentified artists, but include films by M.I.T. fellows Otto Piene, Vassilakis Takis, Philip Thiel, Harold Tovish, Wen-Ying Tsai, and others.
Photographs are of Kepes, Juliet Kepes, and other family members; students, colleagues, and friends, including R. Buckminster Fuller, Serge Chermayeff, Harry Bertoia, Varujan Boghosian, Alexander Calder, Marchall McLuhan, Margaret Mead, Herbert Read, I. A. Richards, Saul Steinberg, and William Wurster; and of Kepes in his studio. There are also photos of exhibition installations in which Kepes's work appeared or which he designed, and photos of his artwork and of images for publications which he wrote or edited. Photos by others include artwork by established artists and work by students, as well as photographs arranged by subjects such as cityscapes, forms found in nature, light patterns, mechanical devices, and photomicrographs. A collection of lantern slides with similar content to the photos of artwork and photos by subject is also found in this series and includes a lantern slide of Picasso creating a design with light.
Arrangement:
The collection is arranged as eleven series.
Series 1: Biographical Material, circa 1940-circa 1980 (0.25 linear feet; Boxes 1, 28)
Series 2: Correspondence, 1936-1984 (5.7 linear feet; Boxes 1-7, 28 OV 33, FCs 39-41)
Series 3: Interviews and Transcripts, 1954-1970 (4 folders; Box 7)
Series 4: Writings and Notes, 1948-circa 1980s (1.4 linear feet; Boxes 7-8, 28)
Series 5: Times Square Project Files, 1972-1974 (6 folders; Box 9)
Series 6: Teaching Files Sound Recordings, circa 1953-1972 (0.7 linear feet; Box 9)
Series 7: Exhibition Files, 1958-1973 (0.4 linear feet; Boxes 9-10)
Series 8: Printed Material, circa 1922-1989 (3.6 linear feet; Boxes 10-12, 28-29, OVs 35, 37, FCs 42-49)
Series 9: Sketchbooks, circa 1940s-circa 1970s (2 folders; Box 12)
Series 10: Artwork and Moving Images, circa 1924-2003 (2.5 linear feet; Boxes 12, 13, OVs 33-36, 38, FCs 50-62)
Series 11: Photographs, 1909-1988 (10.4 linear feet; Boxes 13-32)
Biographical / Historical:
Painter, designer, art theorist, and educator, Gyorgy Kepes (1906-2001), was born in Selyp, Hungary, and studied at the Royal Academy of Fine Arts, Budapest. He worked with Moholy-Nagy in Berlin and London before joining him at the New Bauhaus (later the Chicago Institute of Design) in 1937.
Kepes taught courses at the New Bauhaus from 1937 to 1945, and published Language of Vision in 1944, summarizing the educational ideas and methods he had developed during his time at the institute. In 1946 he accepted a teaching position at the Massachusetts Institute of Technology (M.I.T.) where he initiated a program in visual design.
In 1956 Kepes published The New Landscape in Art and Science, in which he presented images from nature that were newly accessible due to developments in science and technology, and explored his ideas for a common language between science and the visual arts.
In 1965, these ideas were apparent in Kepes's proposal of an expanded visual arts program at M.I.T., which would "build new as yet undetermined bridges between art and engineering and science," according to the minutes of an M.I.T. Art Committee meeting in March of that year. Kepes's vision dovetailed with M.I.T.'s vested interest in promoting the arts, and faculty and administrators were open to the argument that "The scientific-technical enterprise needs schooling by the artistic sensibilities." In 1967, they appointed Kepes Director of M.I.T.'s Center for Advanced Visual Studies (CAVS).
Kepes retired from the regular faculty at M.I.T. in 1967, to focus on his role as director of CAVS, where he worked to provide artists with opportunities for exploring new artistic forms on a civic scale through a working dialogue with scientists and engineers. Early fellows of the center included Maryanne Amacher, Joan Brigham, Lowry Burgess, Jack Burnham, Piotry Kowalski, Otto Piene, Vassilakis Takis, and Wen-Ying Tsai.
In 1965-1966 Kepes edited a six-volume series entitled Vision + Value, published by George Braziller, Inc. Each volume featured essays that centered around a core theme: The Education of Vision; Structure in Art and Science; The Nature and Art of Motion; Module, Symmetry, Proportion, Rhythm; Sign, Image, Symbol; and Man-Made Object. Contributions came from prominent artists, designers, architects, and scientists of the time including Rudolf Arnheim, Saul Bass, Marcel Breuer, John Cage, R. Buckminster Fuller, Johannes Itten, Marshall McLuhan, and Paul Rand.
Kepes experimented widely with photography, producing abstract images through the application of fluids and objects to photographic paper. He also took commercial work throughout his career, producing designs for all kinds of objects, including books and stained glass windows for churches. He returned to painting in the 1950s, and his development as a painter continued throughout his career at M.I.T., where he remained until his retirement in 1974, and beyond. His paintings, which were abstract and often incorporated organic shapes and hints of landscapes, can be found in museums such as the Brooklyn Museum of Art, the Corcoran Gallery of Art, and the Whitney Museum of American Art.
Kepes received many awards during his lifetime, including a Guggenheim Fellowship (1958); the Gold Star Award of the Philadelphia College of Art (1958); the National Association of Art Colleges Annual Award (1968); the California College of Art Award (1968); and the Fine Arts Medal from the American Institute of Architects (1968). In 1973 he was elected into the National Academy of Design as an associate member, and became a full academician in 1978. He was a member of the National Institute of Arts and Letters and Fellow of the American Academy of Arts and Sciences.
Related Materials:
Additional papers of Gyorgy Kepes can be found at Stanford University and the Massachusetts Institute of Technology Center for Advanced Visual Studies Special Collection.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 1211) including ninety-eight letters to Kepes from colleagues, 1946-1974. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Gyorgy Kepes lent papers for microfilming in 1974 and donated material to the Archives of American Art in a series of gifts between 1974 and 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Juliet Kepes Stone or Imre Kepes. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
One hundred twenty five posters exhorting employees to practice good safety habits.
Arrangement:
6 series.
Biographical/Historical note:
Founded in 1919, and located in Concordville, Pennsylvania, Clement Communications produces and distributes programs and materials for business, educational institutions and government, including software, newsletters and posters, to help organizations communicate with employees and customers.
Provenance:
Immediate source of acquisition unknown.
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.
Metropolitan Council for Educational Opportunity (Boston, Mass.) Search this
Extent:
2.5 Cubic feet (1 box, 8 map folders)
Type:
Collection descriptions
Archival materials
Brochures
Handbooks
Posters
Place:
Boston (Mass.) -- Social conditions
Massachusetts -- 20th century
Massachusetts -- 21st century
Date:
1977 - 2014
Scope and Contents:
The collection includes: annual METCO Parent Handbooks which detailed the services METCO provided and provided other information for parents of children attending the METCO supported schools, 1977-2004; event programs from METCO gatherings, 2007-2014; flyers and handouts; and posters, including 7 hand-made posters created to be displayed at meetings, featuring photographs and articles on some of the school districts METCO served.
Arrangement:
The collection is arranged into one series.
Biographical / Historical:
The Racial Imbalance Act of 1965 was passed by the Massachusetts General Court. It made the segregation of public schools illegal in Massachusetts, and stated that any public school in the Commonwealth whose student body was composed of over 50% of minority races was "racially imbalanced." The Boston School Committee was required to achieve "the complete integration of the Boston Public Schools" before September 1966. Significant civil unrest followed court-ordered busing to achieve the aims of this legislation, especially during the years 1974-1976. Against this background, METCO was started in 1966. METCO's mission was to enable voluntary integration in public schools in Metropolitan Boston, by enabling students who lived in the city to attend schools in the more affluent suburban areas, and provide better educational opportunities for minority students.
Provenance:
Collection donated by METCO Inc., through Jean McGuire, Director, 2016
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.
Topic:
Busing for school integration -- Massachusetts -- Boston Metropolitan Area Search this
Collection documents through born-digital oral histories the lives and experiences of undocumented community organizers and activists.
History of the Collecting Process:
The Undocumented Organizing Collecting Initiative is a multi-year effort to preserve histories of undocumented organizing in the United States. Collecting oral histories and objects from undocumented organizers in Southern California, Chicago, Nebraska, North Carolina, Washington, D.C. and Mexico City, the Initiative was the first collective research initiative to provide a national perspective on the multi-focal, multi-vocal undocumented organizing movement.
The Initiative is based out of the National Museum of American History's Center for Restorative History (CRH). The CRH works to redress exclusions in United States history using the principles of restorative justice. This project therefore centers the knowledge of undocumented organizers to address and document historical harms, present needs, and obligations in an effort to make history more accurate and inclusive.
The project's core team includes Patty Arteaga (Project Lead), Dr. Nancy Bercaw (Curator, Political History; Deputy Director, Center for Restorative History), José Centeno-Meléndez (Oral Historian), and Delia Beristain Noriega (Assistant Oral Historian).
Scope and Contents:
This collection contains oral history interviews, interview transcripts, and indexes with timestamps and descriptions documenting the lives and experiences of undocumented organizers. In some cases, the original recordings and transcripts have been redacted upon request of the interviewee.
The oral histories cover immigration to the United States, community organizing work, and such topics as deportation, mass incarceration, anti-Black violence, family separation, and food insecurity.
Arrangement:
This collection is arranged into three series, each organized alphabetically by last name of interviewee.
Series 1: Transcripts, 2019-2020
Series 2: Born-Digital Interviews, 2019-2020
Series 3: Indexes, 2019-2020
Historical:
Undocumented organizers have played a crucial role in U.S. politics over the last 20 years, most notably by securing the first significant piece of immigration reform since the 1986 Immigration Reform and Control Act. The announcement of Deferred Action for Childhood Arrivals (DACA) in 2012 broke a logjam by securing a limited immigrant right, the first granted in 26 years. This achievement represented a signature moment in U.S. history echoing Emancipation, Women's Suffrage and the Civil Rights movements, where people without citizenship or the right to vote changed government policy.
The origins of undocumented organizing in the 21st century can be traced back to 2001, when undocumented youth pushed for access to higher education. Up to the moment of high school graduation, undocumented youth, then and today, are guaranteed access to a K-12 public education by the landmark Supreme Court decision in Plyer v. Doe (1982). Yet upon graduation, their futures are foreclosed without protected access to higher education. They face the choice of silently slipping into wage work or returning to their home country. In 2001, Senators Dick Durbin (IL) and Orrin Hatch (UT) responded to the crisis and introduced the Development, Relief, and Education for Alien Minors Act, otherwise known as the DREAM Act.
What had seemed like an easy bill to pass became implausible after the terrorist attacks on September 11, 2001. Anti-immigrant sentiment spiked, encouraging Representative James Sensenbrenner (R-WI) to introduce highly restrictive immigration legislation in the Border Protection, Anti-terrorism, and Illegal Immigration Control Act of 2005. Using the only tool available to them, hundreds of thousands of immigrants across the United States took to the streets in May 2006. Many undocumented youth organizers remember this moment as a potent lesson, introducing them to the power of people's movements.
With strong training and support from immigrant rights organizations, such as CHIRLA, NILC, National Council of La Raza, UCLA Labor Center, Casa de Maryland, NAKASEC, Latin American Coalition, Community Change, and Make the Road New York, among others, young activists formed undocumented-led organizations such as United We Dream (UWD), Immigrant Youth Justice League (IYJL), LA DREAM Team, and the New York State Youth Leadership Council (NYSYLC). As directly-impacted people, undocumented youth set their own agenda and developed innovative mass mobilization tactics.
Inspired by the May 2006 marches, undocumented youth began to focus on direct-action campaigns which peaked in 2009-10. Wearing high school graduation robes, they traveled to the U.S. Capitol and conducted sit-ins in congressional offices to push the passage of the DREAM Act. Others built upon Black organizing traditions and walked 1,500 miles from Florida to Washington, D.C. Paying homage to Civil Rights activism, this march, known as the Trail of DREAMs, wound its way through the U.S. South facing Ku Klux Klan activity along the way. Early organizers also borrowed from LGBTQ+ organizing tactics by "coming out of the shadows" and declaring themselves "undocumented and unafraid," thereby risking deportation. Strategically, they announced their status through scripted narratives emphasizing their "Americanness" as high-achieving, English-speaking students raised on the American Dream. These strategies paid off. Anti-immigration sentiment still ran high, but popular opinion swung in favor of the DREAMers as "Americans" despite their legal status.
To take advantage of this political opening, undocumented organizers fiercely advocated that the DREAM Act be placed at the top of the immigration rights agenda. As DREAMers, they had a strong chance of success in creating the first pathway to citizenship since the 1986 Immigration Reform and Control Act. They argued that the DREAM Act could serve as a wedge, widening the door for other immigrants to gain legal status. Immigrant rights organizations disagreed, unwilling to shift attention away from comprehensive immigration reform. This caused a rupture that resulted in undocumented activists breaking away from the immigrant rights platform and trusting their own knowledge and experience over those in established systems of power.
Lacking a large national organization to direct and mobilize campaigns, undocumented activists used the internet to create new systems for organizing. They constructed DREAMActivist.org to coordinate events nationwide, held synchronous Coming Out of the Shadows events, and ran online forums to share up-to-date information with chat rooms on how to navigate daily life as an undocumented person.
They pushed for the DREAM Act coordinating nationwide events to rally support for their cause including marches, demonstrations, sit-ins, fasting campaigns, and walkouts. Yet after nine years of gridlock, in 2010 Congress failed to pass the DREAM Act by five votes. Suddenly, the youth and students who had stepped forward faced an even greater risk of deportation.
In the wake of the DREAM Act's failure, undocumented organizers regrouped. A dedicated legal team investigated a largely-unknown administrative practice called "deferred action" from deportation. Presidents employed deferred action on a case-by-case basis to protect immigrants from deportation. What if this could be implemented more broadly? Working with immigration attorneys, organizers presented their case to the Obama administration requesting action on temporary relief. When the White House failed to act, they took to the streets. Undocumented people demonstrated, marched and even took over President Obama's re-election campaign offices. By applying pressure to the presidency, undocumented youth were once again putting forward all their energy to stop their own deportation and arrive at a solution, even if a temporary one.
On June 15, 2012, President Obama announced an executive action, Deferred Action for Childhood Arrivals (DACA). The program offered some undocumented youth a two-year, renewable protected status to pursue employment if they could prove the following: that they arrived before their 16th birthday; could demonstrate living continuously in the United States since June 15, 2007; had not committed a felony; and were under 31 years of age.
DACA was in effect for five years when the Trump administration rescinded the program on September 5, 2017. Challenging the administration in court, undocumented organizers eventually took their case to the Supreme Court and won. Yet the June 18, 2020, Supreme Court majority opinion ruled based on a technicality and made no judgement on the validity of deferred action. At the time of this writing (March 31, 2023), legal statuses such as DACA, Temporary Protected Status (TPS), and Deferred Enforced Department (DED) face intense challenges in the courts, the U.S. Congress, and state and local legislatures.
After securing DACA in 2012, the movement shifted. Recognizing that DACA only protected youth, and only a fraction of that population, undocumented organizers expanded their action to advocate for all 12 million undocumented U.S. residents. While some continue to organize nationally, successfully swinging presidential and U.S. Congressional elections and aggressively pursuing action in the courts, others explore goals aimed at relieving systematic oppression. Daily deportations separated families, leaving infants without parents and grandparents without loved ones. Building upon political practices from their home countries and combining them with lessons learned from Black freedom struggle, the Chicano movement, indigenous claims to sovereignty and LGBTQ+ liberation, undocumented activists organize for liberation. Moving beyond a civil rights/ immigrant rights paradigm, undocumented organizers are reconfiguring fundamentals of U.S. democracy by calling out the exclusionary nature of "rights" and "citizenship." Likewise, they actively wrestle with identity-based politics through coalition building across Black, (Afro)Latinx, Asian and queer communities against deportation, incarceration, and state surveillance. Grounded in community needs, they take a holistic approach that refuses to focus on one issue, one identity, over another.
These actions include (but are not limited to):
287(g): To protect residents from deportation, many successfully swing local elections to elect anti-287(g) candidates. 287(g) is a small clause in the U.S. Immigration and Nationality Act that permits sheriffs to notify Immigration and Customs Enforcement (ICE) whenever they detain a person. In many places, 287g means that a random traffic stop, a broken taillight, jaywalking, or simply looking "foreign" can trigger a deportation pipeline—regardless of whether a person has broken the law.
Anti-Deportation Measures: As deportations spike, undocumented organizers employ a variety of tactics to protect families and communities. Many work on educating community members, organizing "Know Your Rights" campaigns. Others coordinate with abolition groups to halt the militarization of local police by federal agencies through direct action campaigns and court filings. Since September 11, 2001, the federal presence in local communities has spiked. Undocumented organizers closely monitor these agencies to block new policies that otherwise fly under the radar in the national political arena. (Also see 287(g))
Citizenship for All: After DACA (2012), many organizers began to question the tactic of emphasizing "Americanness" and "worthiness" to gain citizenship. Only an estimated 800,000 undocumented people applied for and qualified for DACA, leaving over 11 million without protection. Undocumented organizers shifted focus to campaign for citizenship that was not exclusionary, advocating for citizenship for all.
Economic Empowerment: To immediately address limited economic and homeownership opportunities for undocumented individuals without social security numbers, many organizers across the country devised innovative economic empowerment programs to support or create businesses owned by undocumented people. Others have formed economic cooperatives to acquire property.
Cultural Activism: The threat of deportation leaves many undocumented people living in isolation with limited access to community. By organizing around culture — festivals, music production, artistic expression — activists provide spaces, both virtually and in-person, for undocumented people to celebrate the richness of who they are as individuals and as a collective.
Beyond Citizenship: Those deported or voluntarily returned to their home country quickly recognize that they were misunderstood and stigmatized in both countries. Both "nation" and "citizenship", they argue, perpetuate exclusion, removing acceptance, services, belonging, and a life free from persecution. Emphasizing trans-local organizing, activists work to connect people on both sides of the border to provide the resources they need. They advocate for normalizing and decriminalizing migration to permit families to see friends and loved ones regardless of where they live.
Definitions
Undocumented refers to an individual's status who reside in the United States without a pathway to U.S. citizenship. Whether migrating to the United States as minors or adults, these residents are not granted permanent legal status by the U.S. government. Those who identify as undocumented have unfixed (or liminal) legal statuses including those 1) who are stateless (without citizenship in any country); 2) who are without U.S. citizenship or U.S. visas; and 3) who have temporary legal status such as Temporary Protected Status (TPS), Deferred Enforced Department (DED), or Deferred Action for Childhood Arrivals (DACA). Without the protection of U.S. citizenship, undocumented individuals live and work with the constant threat of surveillance and deportation. Moreover, they are blocked from national programs providing access to fair housing, healthcare, and workers' rights, among others.
Undocumented organizing refers to political mobilizing led by undocumented individuals from 2001 to the present. The essential feature separating undocumented organizing from earlier forms of activism is the public declaration of legal status by movement leaders. Risking deportation, family separation, and loss of community, they choose to openly declare themselves "undocumented." This action provides the opportunity to speak freely about the conditions that they and their communities face. By "coming out of the shadows," they step into leadership positions and form their own organizations. By directly representing their communities, undocumented organizers have created a new sphere of highly effective immigrant rights organizing.
Related Materials:
Materials at the National Museum of American History
The Division of Political and Military History holds the following materials related to undocumented organizing:
2006.0106; 2006.0211 - Posters, leaflets, and other objects documenting protests and demonstrations, such as the Immigration March (April 10, 2006, Washington D.C.) and the Great American Boycott/Day Without An Immigrant (May 1, 2006)
2018.0073 - Posters and clothing, including monarch butterfly wings, used in the DACA protest on March 5, 2018
2018.0156 - Bracelets
2018.0198 – Poster, "Stand with Immigrant Workers"
2020.0048 – Javier Jairo Morales' graduation cap, gown, stole, and monarch butterfly wings
Materials at the Anacostia Community Museum Archives
Gateway/Portales Exhibition Records (ACMA Acc. 03-102)
Black Mosaic: Community, Race, and Ethnicity among Black Immigrants in Washington, D. C. Exhibition Records (ACMA Acc. 03-027)
Provenance:
Made for the National Museum of American History by the Undocumented Organizing Collecting Initiative between 2019-2020.
Restrictions:
Collection is open for research. Access and use of born-digital audio materials available in the Archives Center reading room or by requesting copies of materials at RightsReproductions@si.edu.
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.
An extensive collection of advertisements, club cards, ephemera, and invitations publicizing venues and events at entertainment clubs and venues in New York City, New York, New Jersey, and Florida. The materials make use of a variety of graphic arts styles.
Scope and Contents:
The collection is rich in examples of the graphic arts and event advertising in the era before the prevalence of the internet. Marketing tactics, use of urban space, and entertainment offerings may be gleaned from this material. The venues represented catered to homosexual and heterosexual patrons, some being exclusively gay or straight, but many catered to both communities of all ethnic groups. Venues may be represented by one item or many.
The collection is organized into three series.
Series 1: Venue Advertisements and Invitations, 1983-2004, undated. This series contains advertisements, invitations, and posters for nightclubs, dance clubs, restaurants, and musical and comedy events located in Manhattan and the boroughs of New York City. There is minimal material relating to clubs located in New Jersey and Florida. The nightclubs include large and small venues, mainstream as well as "fringe" clubs, clubs catering predominately to African-American, Latino, gay and lesbian communities, and venues featuring other types of music and entertainment (both adult and mainstream) in addition to disco styles, like jazz, hip-hop, and popular music.
Series 2: Correspondence and Personal, 1988-2000, undated. This series contains a small amount of correspondence and personal material for David H. Rockwell, his family, and unidentified others. Within this series are letters, cards, postcards, and business related materials.
Series 3: Other Advertisments and Ephemera, 1983-2002, undated. This series contains material related to special themed events, art openings, restaurant events, and a variety of specialized "happenings" as well as private parties and birthdays. There are also advertisements for dance studios, records, stores, and theaters.
Arrangement:
The collection is organized in three series.
Series 1: Venue Advertisements and Invitations, 1983-2004, undated
Series 2: Correspondence and Personal, 1988-2000, undated
Series 3: Other Advertisements and Ephemera, 1983-2002, undated
Biographical / Historical:
These invitations were collected by the donor, David H. Rockwell. He also was responsible for printing many of them. Rockwell was resident in Manhattan during the time many of these invitations were created. He describes the invitations and his collecting, "Disco invitations are generally printed on heavy paper and can vary in size from 2x3 inches to 8x12 inches to full size posters. They are extremely colorful, and have very artistic graphics. They were often themed (Model's Ball, New Year's Eve, Drag Nights), or invited you to a celebrity's birthday bash. They were very prominent in New York City during the '80s and '90s, and were sent to exclusive mailing lists to announce the day, date, time, place and prices for all the differnt parties and dances held every night at New York's discos: Studio 54, Xenon, Magique, Danceteria, Limelight, The Palladium, Webster Hall, Underground and The Tunnel-over a hunderd clubs in all. The art on the invites was either created by some of Manhattan's most talented graphic artists, or those employed by the clubs. My role was to print 5000 or 10,000 lots of these invites, often five or six lots a day. I thought they were so cool I kept samples of many, were mailed many more (yes, I went to the parties and survived), and collected many others from 'invitation shelves' at Manhattan records shops, video rental stores, etc.".
The New York City club scene reached a zenith over the three decades following the 1970s emergence of disco music. The blossoming of what has been termed "club culture" followed the upheavals and advancements of the 1960s, the Civil Rights Movement, the Stonewall Riots, Vietnam War and other cultural touchstones. During the 1980s and 1990s clubs regularly opened and closed as public patronage waxed and waned. On occasions clubs would close and reopen under a new name and/or location. Some clubs were notorious gathering places for the drug culture of the late twentieth century. The emergence of HIV/AIDS and a general decline in dance and music venues as an agent for dating and socializing, in part due to the internet, spelled the demise of many of the venues represented here. Many well-known New York clubs are represented in this collection.
Clubs catering to a variety of musical tastes, ethnic and social groups, as well as restaurants and adult oriented clubs used club cards, postcards, mailings, hand-outs and what are generically known as flyers to advertise their particular offerings. The graphic arts used in these various advertisements not only imparted the necessary information about the event or place but reflected the personality of the club. They also provided a venue for a variety of graphic designers to utilize their talents in formats both large and small. This phenomenon was recently explored in the 2015 exhibition, "The Last Party," curated by the author Anthony Haden-Guest at WhiteBox in New York City.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
Archives Center Collection of Business Americana (AC40404)
The Shamrock Bar: Photographs and Interviews (AC0857)
Lesbian, Gay, Bisexual, and Transgender Collection (AC1146)
John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)
DC Cowboys Dance Company Records (AC1312)
Corbett Reynolds Papers (AC1390)
Provenance:
Collection donated by David Hadley Rockwell in 2015.
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.
The personal and business papers of longtime, gay civil rights activist, editor, and publisher of the Philadelphia Gay News (PGN), Mark Segal.
Scope and Contents:
The papers document the life, activism, and publishing activities of LGBT activist Mark Segal. The collection includes correspondence between Segal and elected officials, members of the news media, entertainers and others, newsletters, news articles, writings both original and collected, clippings, photographs both official and personal. This collection also includes papers and photographs documenting the first Gay Pride event in New York City in 1970, various Democratic National Conventions, other Pride celebrations and events, and an Elton John benefit concert Segal produced. The collection includes papers documenting the William Way senior housing center in Philadelphia, Pennsylvania for elder gay people. There are early papers, newsletters, and ephemera relating to the Gay Liberation Front organization, the Gay Activists Alliance, the Gay Raiders, and many more organizations that sprang up in the post-Stonewall era; programs from events; invitations; posters, and bumper stickers.
Arrangement:
The collection is divided into six series.
Series 1: Segal, Mark, Personal, Subject, Photographs, and Audio-Visual Files, 1951-2018, undated
Subseries 1.1: Personal Files, 1961-2017, undated
Subseries 1.2: Subject Files, 1951-2017, undated
Subseries 1.3: Photographs, 1960-2018, undated
Subseries 1.4: Audio-Visual, 2005-2014, undated
Series 2: Philadelphia Gay News (PGN) and MASCO Communications Company and Lambda Award Files, 1972-2016, undated
Subseries 2.1: Company Files, 1972-2016, undated
Subseries 2.2: Lambda Awards, 1978-2000
Series 3: Organizations and Associations, 1962-2017, undated
Series 4: Newspapers and Periodicals, 1962-2016, undated
Series 5: Publications and Writings, 1970-2013, undated
Series 6: Pride and Events, 1970-2011, undated
Biographical / Historical:
Mark Segal was born January 12, 1951 to Martin and Shirley Weinstein Segal in Philadelphia, Pennsylvania. He attended public school in Philadelphia and upon graduating from high school made his way to New York, New York, at a time when the gay rights movement was poised to experience a watershed moment, the Stonewall Riots in June 1969.
As an activist, journalist, and publisher, Segal participated in and often organized a range of civil rights and social groups, protests, legal actions, and other activities in support of gay rights. He became well known for his very public acts of civil disobedience as a member of the Gay Raiders, termed "zaps," on the CBS Evening News with Walter Cronkite and the Mike Douglas Show in the early 1970s. Those appearances coupled with scheduled appearances on various national and local television and radio talk shows fulfilled one of the goals for Segal's activism, "to show the nation who gay people are: our sons, daughters, fathers, and mothers."
In 1976, Segal founded and currently publishes the influential newspaper, Philadelphia Gay News. With an increasing political profile, Segal used the influence and power of the gay press and his standing within political circles to further promote LGBTQ civil rights legislation. During the late 1970s and into the present day, these efforts met with criticism and sometimes outright acts of hate (newspapers boxes of the Philadelphia Gay News were often targets of anti-gay placards and vandalism). Segal and the many others working toward the goal of equal rights for LGBTQ persons were not deterred. Working within political circles and sometimes outside them, many landmark laws and court decisions were achieved in national, state, and local governments.
Separated Materials:
Related artifacts are in the Division of Medical Sciences (now Division of Medicine and Science).
Provenance:
This collection was donated to the Archives Center, National Museum of American History, Smithsonian by Mark Segal, 2017.
Restrictions:
Collection is open for research.
Rights:
Reproduction of some materials is restricted due to copyright or trademark.
Bil Browning and his husband, Jerame Davis were activists for LGBT issues, locally in Indiana as well as nationally in Washington, D.C.
Scope and Contents:
The Bil Browning and Jerame Davis Papers consist of approximately 3.15 cubic feet documenting their activism on behalf of LGBT rights in Indiana, and includes correspondence, photographs, school papers, a scrapbook from Browning's youth, posters, petitions, handouts, bumper stickers, periodicals, conference and event programs, ID cards, VHS recordings, and printed materials. There are extensive notes from an oral history interview with Browning and Davis conducted by Archives Center intern, Sara Dorfman, in Series 1.
Series 1, Personal Papers, 1972-2015, undated, consists of correspondence between Browning and his friends and family, school-related materials such as yearbooks and report cards, an oral history interview, and a scrapbook from Browning's youth. The scrapbook contains materials pertaining to Browning's work with ACT-UP, along with letters and other personal materials.
Series 2, Activism Records, 1992-2012, undated, contains papers from the Fast Max Sunoco employment discrimination case, papers from the Indiana Stonewall Democrats, conference and event programs, papers from Indiana Equality, papers from the Human Rights Campaign, papers from Pride at Work, a presentation on LGBT youth homelessness from the LGBT Editor/Blogger Convening, an invitation to the inauguration of President Obama, an invitation to LGBT Pride Month from the White House, and papers from the Bilerico LGBT Media Foundation.
Series 3, Legal Records, 1991-2011, undated, contains financial records as well as papers from the Indiana Department of Workforce Development and documents regarding termination of child support paid by Browning's father.
Series 4, Publications, 1981-2014, undated, includes newspaper clippings relating to Browning's youth, LGBT events, and ACT-UP. It also contains pamphlets, hand-outs from conferences, and multiple LGBT periodicals from around the United States, such as the Washington Blade, that claims to be the oldest LGBT newspaper in the country.
Series 5, Photographs, 1972-2006, undated, contains photos from Browning's youth, friends and family of Browning and Davis, Browning's significant others, protests, and drag shows.
Series 6, Audiovisual, 1992-2008, undated, covers Browning's involvement with the organization ACT-UP, interviews with Browning, an open forum led by Jerame Davis in response to a protest against Cummins, a rally staged by the Indiana Action Network, and various clips from news programs covering some of these events.
Arrangement:
This collection is arranged into six series.
Series 1: Personal Papers, 1972-2015, undated
Series 2: Activism Records, 1992-2012, undated
Series 3: Legal Records, 1991-2011, undated
Series 4: Publications, 1981-2014, undated
Series 5: Photographs, 1972-2006, undated
Series 6: Audiovisual, 1992-2008, undated
Biographical / Historical:
Bil Browning (William Dale Browning) was born in Zanesville, Ohio in 1972. Jerame Davis (Jerame Joe Davis) was born in Columbus, Indiana in 1975. After coming out as gay in high school, Browning joined the Clinton presidential election campaign and the organization ACT UP (AIDS Coalition to Unleash Power) in 1992. Davis worked for multiple LGBT organizations, including Indiana Equality, Indiana Fairness Network, Columbus Gay/Straight Alliance, Indiana Stonewall Democrats, and Pride at Work.
In the late 1990s, Browning and Davis were involved in an employment discrimination case against Fast Max Sunoco in Indiana. This case served as a catalyst for them to continue championing LGBT rights. The same case resulted in their organizing the internet's first gay rights grassroots online action against the local company that had fired them. Since then, Browning has won multiple awards for his work as an activist. He is also a board member of the National Lesbian and Gay Journalists Association, and an advisory board member of the Woodhull Sexual Freedom Alliance. Davis has served as the executive director of the National Stonewall Democrats.
Together, Browning and Davis were the co-owners of the Bilerico Project, a group blog that chronicled Indiana politics and LGBT issues for nearly 11 years. On June 30th, 2015, Browning made his last post on the blog, saying that he was taking time off to work on his book. Browning and Davis separated in 2023.
Provenance:
The papers were donated by Bil Browning and Jerame Davis, in 2015.
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.
This collections includes 26 posters that were part of the traveling exhibiton "Visual Power: 21st Century Native American Artists/Intellectuals" curated by Phoebe Farris in 2005.
Scope and Contents:
This poster collection contains the 26 posters that made up the U.S. Department of State's traveling exhibition Visual Power: 21st Century Native American Artists/Intellectuals. The posters feature the work of 12 Native American artists and includes samples of the artists works and seperate posters for the artist's statements. The following Native artists were included in this exhibition; Nadema Agard (Cherokee/Lakota/Powhatan), Norman Akers (Osage/Pawnee), Phoebe Farris (Powhatan-Renape/Pamunkey), Joe Feddersen (Colville Confederated Tribes), Edgar Heap of Birds (Cheyenne/Arapaho), Carm Little Turtle (Apache/Tarahumara), George Longfish (Seneca/Tuscarora), Rose Powhatan (Pamunkey), Duane Slick (Meskwaki), Jaune Quick-to-See Smith (Flathead Salish/Confederated Salish and Kootenai Nation), Gail Tremblay (Onandaga/Micmac) and Kay Walking Stick (Cherokee).
Arrangement:
The poster collection is arranged in one folder in the original order of the exhibition.
Biographical / Historical:
Visual Power: 21st Century Native American Artists/Intellectuals is a traveling exhibit curated by Dr. Pheobe Farris for the United States Department of State consisting of 26 posters. The exhibit was developed as an outgrowth of a 2003 College Art Association panel chaired by Farris titled "Native American Artists/Intellectuals: Speaking for Ourselves in the 21st Century." Working together with Evangeline Montgomery (Senior Program Officer of the State Department's Cultural Programs Division) and Ceasar Jackson (Project Designer for the Cultural Programs Division), Farris selected 12 Native American artists whose work would be viewed in U.S. embassies around the world. The exhibit was put together in a poster format with each poster featuring a photo of the individual artist, one example of their work as well as an artist statement.
Provenance:
Gift of the U.S. Department of State and Dr. Pheobe Farris, 2007.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single copies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Visual Power: 21st Century Native American Artists/Intellectuals poster collection, 2005. National Museum of the American Indian Archive Center, Smithsonian Institution.
The collection consists of newslettersDodgers Line Drives, Brooklyn Dodgers Fan Club Newsletter, and Gabe-o-gram, albums of trading cards and Hall of Fame postcards, many of which have been autographed. There are also photographs of teams, individual players, and a photograph of Ronald Gabriel with Babe Ruth. There is a large scrapbook containing over 1000 autographs and several items of baseball ephemera, including placemats, magnets, scorecards, team schedules, programs, and posters.
Scope and Contents:
The collection includes baseball memorabilia acquired over Ronald Gabriel's lifetime as a fan, especially of the Brooklyn Dodgers.
Series 1, Newsletters, 1944-2008, includes newsletters for the Dodgers Line Drives which Gabriel published, as well as the Brooklyn Dodgers Fan Club, which he founded in 1975. He also authored a newsletter called the Gabe-o-gram.The Brooklyn Bums was a newsletter to which Gabriel subscribed.
Series 2, Photographs, circa 1947-2006, consists of one oversize photo of Babe Ruth, a folder containing collectible photographs, and five packs of team photographs of the Brooklyn and Los Angeles Dodgers. Notably in this series is the photograph of Ronald Gabriel as a child standing with the "Great Bambino," Babe Ruth.
Series 3, Baseball Ephemera, 1912-1990, contains five subseries: Subseries 1, Trading Cards; Subseries 2, Postcards; Subseries 3, Scrapbook; Subseries 4, Posters; and Subseries 5, Ephemera. There are two albums of baseball trading cards dating from 1912 to 1973 and two albums of autographed Hall of Fame postcards. The scrapbook contains 144 pages and over 1000 autographs acquired by Gabriel as a boy. There are oversize posters documenting Duke Snider Restaurant & Bar (autographed by Duke Snider), 1989 and "Catch Baseball Fever," undated. The ephemera includes game tickets, a letter from Dodgers' long timeradio broadcaster Vin Scully, advertising, product packaging, baseball placemats, programs, team schedules, programs, scorecards, magnets, and several other small items.
Ronald Gabriel (1941-2009) grew up in Brooklyn, just two miles from Ebbets Field, home of the Dodgers. He quickly became engrossed in the baseball atmosphere around his home and developed a passion for the sport that would shape his entire life. He regularly wrote letters to baseball teams asking for player autographs. As a result he compiled a massive collection of signatures, including those from Joe DiMaggio, Warren Spahn, Mickey Mantle, Leo Durocher, Bob Feller, and hundreds more. He continued collecting baseball memorabilia for the rest of his life. The Dodgers were his team. He was born in 1941, just in time to watch the Dodgers become one of the greatest franchises in baseball history, winning pennants in 1941, 1947, 1949, 1952, and 1953. Finally, after losing to the New York Yankees in their previous five World Series, Ronald Gabriel witnessed the Brooklyn Dodgers win the 1955 World Series.
Even after his team moved from Brooklyn to Los Angeles in 1958 Gabriel remained passionately devoted to the Brooklyn Dodgers. He published a newsletter called Dodgers Line Drives that lasted until 2009 and started the "Worldwide" Brooklyn Dodgers Fan Club in 1975 in honor of the twentieth anniversary of their World Series victory. He was also a guest speaker at George Washington University for a class called Race, Sports, and the American Dream, where he talked about Jackie Robinson. His baseball knowledge extended far beyond the Dodgers. He became a widely known baseball historian, acted as vice-president of the Society for American Baseball Research (SABR), and established the Washington Metro Chapter of the SABR. Later in his life Gabriel was honored by the Dodgers when they inducted him into the Brooklyn Dodgers Hall of Fame, an honor not usually given to fans. Gabriel was an important part of the Dodger community. He became close friends with a number of widows of former players and visited them often. Ronald Gabriel died in July, 2009 at the age of 68.
Related Materials:
Materials in the Archives Center
Archives Center Sports Memorabilia Collection, circa 1970 to present, #796
Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, AC0545
Lebanon Valley Baseball League Collection, 1936-1963, AC0067
Lou Newman Collection of Baseball Memorabilia, 1895-1999, AC0696
Sioux City Ghosts Collection, 1920s-1983, AC0634
Stall and Dean Company Records, 1898-1998, AC0669
Provenance:
Collection bequeathed to the National Museum of American History by Ronald Gabriel through Tom Cholis, October 15, 2008.
Restrictions:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from the Archives Center: reproduction fees may apply.
Rights:
Collections items available for reproduction but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproudction permission from the the Archives Center: reproduction fees may apply.
The collection documents Nick Reynolds, a member of the vocal music group, the Kingston Trio.
Content Description:
The collection documents the life and career of Nick Reynolds, one of the members of the Kingston Trio folk music group. Included in the collection are: a scrapbook approximately covering the years 1958-1970, and including such things as articles, photographs, and flyers announcing appearances by the Trio; letters, including fan mail, and a large set of letters and cards sent by member Nick Reynolds to his parents; postcards; business and legal papers, especially relating to a 1981 reunion; programs; songbooks and sheet music; posters advertising appearances; a book about the Trio; articles and miscellaneous printed materials.
Arrangement:
The collection is arranged into two series.
Series 1: Reynolds, Nick, Personal Papers, 1950-2014, undated
Series 2: Kingston Trio Papers and Ephemera, 1956-2013, undated
Biographical / Historical:
The history of the original Kingston Trio and its subsequent permutations has been well chronicled. The group came to national prominence in 1958 during the folk music revival of the 1950s and 1960s. At that time the trio consisted of Dave Guard, Bob Shane, and Nick Reynolds. Their first album released in 1958 contained their first gold record, Tom Dooley. Success continued for the trio but in 1961, Dave Guard left the group and John Stewart joined the group as his replacement. The group continued to have a successful run, their cover of Where Have All the Flowers Gone? and Greenback Dollar made the Billboard Top Ten chart in 1961 and 1963 respectively. The group in its configuration of Reynolds, Shane, and Stewart ceased actively performing in June 1967. Subsequent incarnations of the group performed into the twenty-first century.
Nicholas (Nick) Wells Reynolds, tenor, was a founding member of the Kingston Trio. He was born in San Diego, California on July 27, 1933. His parents were Stewart S. and Jane Keck Reynolds. His father was a commander in the United States Navy. Reynolds attended schools in Coronado, California graduating in 1951 from Coronado High School. He graduated from Menlo College, Atherton, California in 1956.
Reynolds, Bob Shane (1934-2020) and Dave Guard (1934-1991) formed the Kingston Trio in the 1950s. Reynolds left the Trio in 1967 moving to Oregon. He rejoined the Trio in 1988 after recording the album Revenge of the Budgie in 1983, and remained with the group until retiring in 2003. Reynolds died in San Diego, California on October 1, 2008 survived by his third wife, Leslie Yerger Reynolds, and four children.
Sources
Family Search, 1940 United States Census, accessed July 9, 2019.
Obituary, Nick Reynolds, The New York Times, October 2, 2008.
Obituary, Nick Reynolds, The Los Angeles Times, October 3, 2008.
Kingston Trio Legacy Project, (http://kingstontriolegacyproject.com) last accessed July 9, 2019.
Provenance:
Collection donated by the Kingston Trio Legacy Project to the Archives Center, National Museum of American History, Smithsonian Institution in 2018.
Restrictions:
The 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.
The López Negrete Communications Advertising Collection showcases the successful print advertising campaigns the communications agency undertook with major clients like Goya Foods, NationsBank, and Walmart. The advertising posters in this collection exemplify the agency's creativity in building on U.S. Latinos' everyday experiences to market American products and services. Alex and Cathy López Negrete, the founders of López Negrete Communications, made it their mission to use ethnographic approaches to better understand the U.S. Latino market which led to their success as the largest independently-owned Latino advertising agency in the country.
Scope and Contents:
The collection is made up of López Negrete Communications' large posters created as part of the print advertising campaigns for major American corporations and oral history interviews with Javier Gonzalez Herba, Alex López Negrete, and Cathy López Negrete. Transcripts for oral history interviews with Javier Gonzalez Herba and Alex López Negrete are available.
López Negrete Communications' clients include Fiesta Mart, Goya Foods, NationsBank (and its successor, Bank of America), Tyson Foods, and Walmart. The content of the posters serves as an example of the advertising agency's efforts to better understand the U.S. Latino market by engaging with Latinos' everyday experiences through ethnography and direct communication.
Arrangement:
The collection is divided into ten series.
Series 1: Background Materials, 2016
Series 2: Bank of America, 2000-2007
Series 3: Circle K, Totally Bueno, 2003
Series 4: Fiesta Mart, Inc., 2002-2003
Series 5: Goya Foods, Inc., 2003
Series 6: Houston Metropolitan Transit Authority (METRO), El camino a su destino/The Road to Your Destiny, 1988
Series 7: Microsoft, Nosotros vemos/We See, 2002
Series 8: NationsBank, 1994-1998
Series 9: Tyson Foods, 2001-2006
Series 10: Walmart, Inc. 1998-2015
Biographical / Historical:
Originally named Third Coast Marketing, López Negrete Communications was founded in 1985 by Alex and Cathy López Negrete. The advertising agency has been based in Houston, Texas since the beginning but has additional offices in Los Angeles and New York. López Negrete Communications is currently the largest independently-owned Latino advertising agency in the United States. It is known for drawing on the everyday lives and experiences of US Latino consumers in order to work with major corporate clients to market their products through effective communication and empowerment.
Separated Materials:
The Division of Work and Industry holds the following artifacts related to this collection:
Coin, Accession #: 2015.0305.01
Paperweight, Accession #: 2015.0305.02
Provenance:
Collection donated by López Negrete Communications, 2016.
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.
National Air and Space Museum. Archives Division. Search this
Type:
Archival materials
Scope and Contents:
24 x 16 inch Boeing color poster of "The Delta Family: The 21st Century Low-Cost Access to Space," showing several different Delta rockets.
Collection Restrictions:
The majority of the Archives Department's public reference requests can be answered using material in these files, which may be accessed through the Reading Room at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. More specific information can be requested by contacting the Archives Research Request.
