The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Scope and Contents:
The records of the Segura Publishing Company measure 10.8 linear feet and date from 1976 to 2014. The records document the history of the Mesa, Arizona based company through administrative files, financial records, artist files, exhibitions and art fairs, commissions, printed material, photographs and slides, and some personal papers of Joe Segura.
Administrative files consist of some general correspondence, building lease material and rent payments, insurance policies, board and staff meeting notes, marketing plans, and memberships in various print organizations. Also included are inventory lists, calendar books, and binders on printing techniques.
Financial records consist of appraisals, general budgets for the company, financial statements and reports, and receipts. Also included are general invoices from 1992 to 2013, invoices for advertising, sales, shipping, and some supplies; and invoices for legal and financial services.
Artist files consist of artist statements, correspondence, inventory of works, resumes, and printed materials for artists represented by the publishing company. Some of the represented artists include: Claudia Bernardi, Edward Curtis, Dan Rizzie, Victor Ramirez, and Alberto Rios. Also included are files on James Turrell and his Roden Crater project such as the project journal, proposal and agreement, site studies, and notes.
Exhibition and project files consist of exhibitions featuring artist represented by the publishing company and various art festivals and graphic design conferences that the publishing company participated in. Materials include correspondence, loan agreements, clippings, brochures, and some shipping receipts. Also included are two VHS tapes produced by the Segura Publishing Company. Events include the Art on Paper Fair Los Angeles, International Contemporary Art Fair 1997, Impact conference South Africa, the Arizona International Latina/o Art Festival, and the US Latino Printmaking in the 21st Century Consejo Grafico Conference.
Commission files consist of agreements the Segura Publishing Company made with various organizations and individuals to exhibit and sell prints of artwork for a percentage of the profits. Materials include correspondence, consignment agreements, some invoices and price lists, slides of artwork, and some printed material. Some of the partnered organizations include: George Adams Gallery, Art in Embassies Program, Aldo Castillo Gallery, Jean Efron Art Consultants, Hispanic Research Center, Microsoft, Museum of Latin American Art, Santa Clara University, Walker Art Center, and Yale University Art Gallery.
Printed material consists of clippings, exhibition announcements and catalogs for exhibitions featuring the company's prints, press releases, "Photographic Methods in Lithography During the Nineteenth Century" by Beauvais Lyons, articles related to Albert Rios and articles on the James Turrell Roden Crater project, newsletters produced by the company, and material related to certain organizations such as the Institute for Latino Studies and Scottsdale Museum of Art.
Photographic material consists of photographs of Segura Publishing Company and some of its workers, photographs of Joe Segura and Lisa Sette, photographs and slides of artwork, and photographs of prints on display.
Joe Segura papers consist of documentation on Joe Segura's work outside of the Publishing Company, primarily related to his teaching career at Arizona State University in the 1990s. Materials include correspondence, letters of recommendations, faculty schedules, and materials for courses such as "Photo Processes for Printmaking," "Photogravure," and "Collotype Printing." Also included are a resume, lecture note cards, and a small sketchbook.
Arrangement:
The collection is arranged into eight series.
Series 1: Administrative Files, 1979-2013 (2.2 linear feet; Boxes 1-3)
Series 2: Financial Records, 1988-2013 (1.5 linear feet; Boxes 3-5)
Series 3: Artist Files, 1984-2014 (0.8 linear feet; Boxes 5-6)
Series 4: Exhibition and Project Files, 1994-2008 (0.4 linear feet; Box 6)
Series 5: Commission Files, 1988-2012 (4.0 linear feet; Boxes 6-10)
Series 6: Printed Material, 1981-2009 (0.3 linear feet; Box 10)
Series 7: Photographic Material, circa 1983-2004 (0.2 linear feet; Box 11)
Series 8: Joe Segura papers, 1976-2013 (1.2 linear feet; Boxes 11-12)
Biographical / Historical:
Joe Segura (1946- ) is a printmaker currently residing in South Bend, Indiana. Segura completed his studies at Southern Illinois University earning both a BFA and MFA in Painting and Drawing in 1975 and 1977. Segura, along with Lisa Sette, founded the Segura Publishing Company, Tempe, Arizona, in 1981. The company produced fine-art limited edition prints and monotypes by leading contemporary artists. In addition to his work at Segura Publishing Company, Segura has also taught and served as the studio manager for the print facility at Arizona State University.
Provenance:
Donated in 2018 and 2022 by Joe Segura.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Printed material consists of clippings, exhibition announcements and catalogs for exhibitions featuring the company's prints, press releases, "Photographic Methods in Lithography During the Nineteenth Century" by Beauvais Lyons, articles related to Albert Rios and articles on the James Turrell Roden Crater project, newsletters produced by the company, and material related to certain organizations such as the Institute for Latino Studies and Scottsdale Museum of Art.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Segura Publishing Company records, 1976-2014. Archives of American Art, Smithsonian Institution.
The Literary Corner: Introduction to African American Poetry with Eugene Redmond—Part I (side A) / Introduction to African American Poetry with Eugene Redmond—Part II (side B)
Title:
Cassette tape with two episodes of the Literary Corner radio program
Collection of the Smithsonian National Museum of African American History and Culture, Contributed in memory of Professor Sarah Webster Fabio (1928-1979), poet, educator, Black Arts Movement icon, and one of the Literary Corner's analysts.
An interview of Kiff Slemmons conducted 2007 November 1-2, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Slemmons' home and studio in Chicago, Illinois.
Slemmons speaks of her childhood growing up in a small town in Iowa; helping her mother in the town pharmacy; working the printing press with her dad, who published the town newspaper; taking art lessons in grade school; learning to play the piano; attending one year at Scripps College before living for a year in Paris; attending the University of Iowa majoring in French; taking basic art classes her senior year; a spring trip to Oaxaca, Mexico, with her future husband Rod; financing the trip by selling 150 pairs of earrings at the student art fair; visiting Monte Alban and being inspired by the ancient jewelry in Tomb 7; moving to Washington state; meeting Ella Steffens and doing jewelry repair work; a strong feeling of the maker's presence in work she repairs; the Japanese aesthetic of wabi-sabi; imperfection as an attractive quality; the conscious decision made from jewelry making to art making, based more in ideas and concepts as opposed to simple decoration; series Hands of Heros, Figures of Speech; the importance of exhibiting her work as it would be seen worn as opposed to in cases under glass; the development of her breastplate pieces; the Top 10 Ethnic Hits; the layering of many meanings as well as materials in her work; her respect for the brevity of poetry and love of Emily Dickinson's work; the restraint of poetry in leaving things unsaid and her struggle to capture that essence; series Re:Pair and Imperfection coming out of her move to Chicago and the developing Iraq War; her workbench as an ever-changing sketchbook full of chaos, tension, and conversation; working with Francisco Toledo and the city of Oaxaca in developing paper jewelry; her travels to India, Africa, Mexico, and Japan; her piece Insectopedia and the great interest shown in it by entomologists; and her desire to send her work out in the world where it is seen and enjoyed. Slemmons also recalls Ramona Solberg, David LaPlantz, Leo Adams, Esther Knobel, Lloyd Herman, Dominic DiMare, Walter Benjamin, Hannah Hoch, Annette Messager, Virginia Holshuh, and others.
Biographical / Historical:
Kiff Slemmons (1944- ) is a metal artist from Chicago, Illinois. Interviewer Mija Riedel is a curator and writer from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 13 digital wav files. Duration is 7 hr., 19 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Metal-workers -- Illinois -- Chicago -- Interviews Search this
Jewelry makers -- Illinois -- Chicago -- Interviews Search this
