Search Results

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 88, Folder 3

Type:

Archival materials

Date:

1956-1961, undated

Series Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Series 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.

Series Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 3: Community Life / 3.2: Events, Ephemera and Buttons

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8de520b70-033b-4622-a9fa-9238ee6d8bf3

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2537

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 88, Folder 3

Type:

Archival materials

Date:

1956-1961, undated

Series Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Series 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.

Series Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 3: Community Life / 3.2: Events, Ephemera and Buttons

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87f43784c-ab04-4c2d-9637-a3123d4280c1

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2538

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2022-06-30T21:00:30.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_fbGmHeGlGPY

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2022-06-30T20:30:01.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_u9Uf33yWEn8

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-07-29T13:16:58.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_FLg8rM7w3jc

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2020-01-08T20:39:59.000Z

YouTube Category:

People & Blogs  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_VkL0V2ByCFc

Biogeographical Region:

77 - South-Central U.S.A.  Search this

Collector:

Alice Eastwood  Search this

Place:

Silver City. Along creek behind Chinese Restaurant., New Mexico, United States, North America

Collection Date:

27 Apr 1919

Taxonomy:

Plantae Dicotyledonae Malpighiales Salicaceae Salicoideae

Published Name:

Populus fremontii S. Watson

Barcode:

03422100

USNM Number:

1103656

See more items in:

Botany

Flowering plants and ferns

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/37c53e75b-06d8-434b-be98-7fc1860cbc96

EDAN-URL:

edanmdm:nmnhbotany_14976458

Creator:

Refregier, Anton, 1905-  Search this

Names:

ACA Galleries  Search this

Bard College -- Faculty  Search this

Gosudarstvennyĭ Ėrmitazh (Russia)  Search this

National Council of American-Soviet Friendship (U.S.)  Search this

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

United States. Works Progress Administration  Search this

Woodstock Artists Association (Woodstock, N.Y.)  Search this

World Peace Council  Search this

De Diego, Julio, 1900-  Search this

Dreyfuss, Henry, 1904-  Search this

Elisofon, Eliot  Search this

Evergood, Philip, 1901-1973  Search this

Fast, Howard, 1914-2003  Search this

Geddes, Norman Bel, 1893-1958  Search this

Greenwood, Marion, 1909-1970  Search this

Kent, Rockwell, 1882-1971  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Morley, Eugene, 1909-1953  Search this

O'Higgins, Pablo, 1904-  Search this

Packard, Emmy Lou, 1914-1998  Search this

Randall, Byron, 1918-1999  Search this

Refregier, Lila  Search this

Siqueiros, David Alfaro  Search this

Yavno, Max  Search this

Extent:

35.9 Linear feet

Type:

Collection descriptions

Archival materials

Travel diaries

Greeting cards

Interviews

Cartoons (working drawings)

Scrapbooks

Transcripts

Photographs

Diaries

Sketches

Place:

Chile

Soviet Union

Guatemala

Mexico

Date:

circa 1900-circa 1990

Summary:

The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, 15 diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, 10 scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Scope and Content Note:

The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Biographical material contains legal records such as Refregier's will and marriage and death records, passports, resume material and 2 interview transcripts.

Correspondence, both chronological and alphabetical, constitutes almost a third of the collection and documents all aspects of Refregier's career including his work for the WPA, private commissions, representation by ACA Galleries, his involvement with groups such as the Woodstock Artists Association and his teaching work for institutions such as Bard College. Also documented are his involvement with local political groups and international organizations such as the National Council of American-Soviet Friendship and the World Peace Council, and travels including visits to the Soviet Union. Notable correspondents include Henry Dreyfuss, Philip Evergood, Rockwell Kent, Emmy-Lou Packard, and Byron Randall. Correspondence also includes family letters written primarily by Refregier to Lila Refregier, in addition to greeting cards received by the Refregier family, many of which contain original arwork.

Writings are primarily by Refregier and include drafts of many essays and autobiographical writings, in addition to copies of published works including Natural Figure Drawing, An Artists Journey and Sketches of the Soviet Union.

The collection contains diaries and journals from 12 years in various formats including published and handmade day planners and typed and handwritten journal entries. They include sketches and primarily record travel and daily activities including specific projects such as the New York World's Fair mural (1938-1939).

Mural and Tapestry files document individual commissions bid on and/or completed by Refregier. The creation of the Rincon Annex Post Office mural and subsequent controversies over its subject matter are well-documented here, as are many of Refregier's commissions for banks, hospitals, hotels, shopping centers, and schools.

Exhibition files document at least 15 of Refregier's exhibitions, including his first one-man show at ACA Galleries (1942) and his exhibition of paintings at the Hermitage Museum (1967) in what was then Leningrad.

Personal business records contain addresses of contacts. Scattered records referencing market values for Refregier's work can be found throughout the series in records such as bills and receipts, financial notes and tax records.

Printed material provides extensive coverage of Refregier's entire career through announcements, invitations, catalogs, and news clippings. His interests in art, literature, music, theater and politics are also well-represented in these files.

The collection contains 10 scrapbooks, mostly in fragmented condition, which contain a mixture of photographs, sketches and other artwork, notes and fragments of writings, and printed material. The scrapbooks document a variety of subjects including Refregier's family life, travels to Guatemala and the Soviet Union, and the artist at work.

Artwork consists primarily of artwork by Refregier in the form of mural design sketches and cartoons in various media, including pencil, ink and pastel, in addition to 21 sketchbooks, many of which also contain journal entries and notes. Also found here are prints and reproductions of Refregier's "Peace card" block engravings for every year from 1950-1973, with the exception of 1970.

Photographs document all phases of Refregier's career and include family photographs dating from circa 1900, photos of Refregier in the studio including work for the WPA, Refregier and other artists and individuals at events and parties from the 1940s-1970s, travel snapshots probably taken in Chile, Guatemala, Mexico, and the Soviet Union, and photographs of artwork and installations. Individuals pictured include Julio de Diego, Marion Greenwood, Rockwell Kent, Pablo O'Higgins and David Siqueiros; also, a series of press photographs by Albert A. Freeman pictures Refregier with Howard Fast, Norman Bel Geddes, Marion Greenwood, John Kingsbury, Yasuo Kuniyoshi and Harry Stockwell. One photograph by Eliot Elisofon, 2 by Eugene Morley and 4 by Max Yavno can also be found here.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1925-1980 (Box 1; 0.25 linear ft.)

Series 2: Correspondence, 1912-circa 1990s (Boxes 1-11, 36, OVs 38, 45; 10.2 linear ft.)

Series 3: Writings, circa 1930s-circa 1970s (Boxes 11-14, OV 45; 3.3 linear ft.)

Series 4: Diaries and Journals, 1923-1979 (Box 15; 0.6 linear ft.)

Series 5: Mural and Tapestry Files, circa 1930s-circa 1970s (Boxes 15-18, 36, OVs 38, 45, 46, RD 42; 3.65 linear ft.)

Series 6: Exhibition Files, 1942-1981 (Boxes 18-19; 0.6 linear ft.)

Series 7: Personal Business Records, 1920s-1980s (Boxes 19-20; 1.8 linear ft.)

Series 8: Printed Material, circa 1920s-1980s (Boxes 21-28, 36; 7.4 linear ft.)

Series 9: Scrapbooks, 1930s-1960s (Boxes 28, 37, BV 47; 1.1 linear ft.)

Series 10: Artwork, circa 1930s-circa 1970s (Boxes 28-30, 36, OVs 40, 41, RDs 42-44; 3.5 linear ft.)

Series 11: Photographic Material, ca. 1900-1980s (Boxes 31-35, 39; 4.5 linear ft.)

Biographical Note:

Russian-born Woodstock painter Anton Refregier (1905-1979) immigrated to the United States in 1920. Refregier was well-known for his sometimes controversial social realist murals for the WPA.

After an apprenticeship to the sculptor, Vasilief, in Paris, Anton Refregier attended the Rhode Island School of Design from 1920-1925 and studied with Hans Hofmann in Germany in 1927. He had his first one-man show at ACA Galleries in New York City in 1942 and settled in Woodstock, New York, with his wife, Lila, and three children Anton, Jr., Brigit and Aleksandre, where he became a prominent member of the artist community.

Refregier completed several social realist murals for the federal Works Progress Adminstration (WPA) program, including one at the New York Worlds Fair in 1939 and the controversial Rincon Annex Post Office mural in San Francisco begun in 1941. He also completed interior design installations for businesses such as the nightclub, Cafe Society Uptown, and the restaurant, The Cookery, in New York City. In addition to being an easel and mural painter Refregier worked in tapestry, mosaic, ceramic, and collage, and completed many commissions for hotels, banks, hospitals, restaurants, synagogues, supermarkets and deparment stores throughout the country.

Refregier taught at various institutions including Stanford University, the University of Arkansas, and Bard College and his publications inlcude Natural Figure Drawing (1948), An Artist's Journey (1965), and Sketches of the Soviet Union (1978). He traveled regularly to the Soviet Union to explore and exchange ideas about art and culture and as a representative of the World Peace Council.

Anton Refregier died in Moscow in October 1979 while visiting the Soviet Union. His work can be found in many museums including the Corcoran Gallery of Art, the Metropolitan Museum, the San Francisco Museum of Art, and the Whitney Museum of American Art.

Related Material:

Also found in the Archives of American Art are an oral history interview with Anton Refregier, 1964, Nov. 5 by Joseph Trovato; and Papers regarding Anton Refregier mural controversy, 1953.

Provenance:

Donated 1983 by Lila Refregier, widow of Anton Refregier, and in 1992 by Brigit R. Sutton, Refregier's daughter.

Restrictions:

Use of original papers requires an appointment.

Rights:

Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. 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.

Topic:

Tapestry  Search this

Art -- Study and teaching  Search this

Political clubs  Search this

Muralists -- New York -- Woodstock  Search this

Art -- Commissioning  Search this

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

Mural painting and decoration -- Archival resources -- 20th century  Search this

Designers -- New York (State)  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Travel diaries

Greeting cards

Interviews

Cartoons (working drawings)

Scrapbooks

Transcripts

Photographs

Diaries

Sketches

Citation:

Anton Refregier papers, circa 1900-circa 1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.refranto

See more items in:

Anton Refregier papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9545f99ed-0a65-4626-904d-8dda5c569fcf

EDAN-URL:

ead_collection:sova-aaa-refranto

Artist:

Bradley Stevens, born 1954  Search this

Sitter:

William Jefferson Clinton, born 19 Aug 1946  Search this

Type:

Painting

Topic:

Interior  Search this

William Jefferson Clinton: Male  Search this

William Jefferson Clinton: Law and Crime\Lawyer  Search this

William Jefferson Clinton: Education and Scholarship\Educator\Professor\University  Search this

William Jefferson Clinton: Politics and Government\President of US  Search this

William Jefferson Clinton: Politics and Government\Governor\Arkansas  Search this

William Jefferson Clinton: Politics and Government\State Attorney General\Arkansas  Search this

William Jefferson Clinton: Presidential Medal of Freedom  Search this

Portrait  Search this

Credit Line:

Owner: Occidental Restaurant

Object number:

PC990182

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4b1198b83-295f-4c0a-8b32-b292b72711ed

EDAN-URL:

edanmdm:npg_PC990182

Photographer:

Frierson, Maureen K.  Search this

Sculptor:

Lundberg, Peter  Search this

Collection Creator:

Garden Club of America  Search this

Extent:

1 Slides (photographs) (col., 35 mm.)

Type:

Archival materials

Slides (photographs)

Place:

River Gallery Sculpture Garden (Chattanooga, Tennessee)

United States of America -- Tennessee -- Hamilton County -- Chattanooga

Date:

2000 May.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Tennessee -- Chattanooga  Search this

Sculpture gardens  Search this

Sculpture  Search this

Trees  Search this

Sidewalks  Search this

Lawns  Search this

Shrubs  Search this

Buildings  Search this

Fences -- wrought iron  Search this

Lampposts  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, Item TN059004

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Tennessee / TN059: Chattanooga -- River Gallery Sculpture Garden

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb67f99a0c6-86db-4c0f-98e4-625257ff7e49

EDAN-URL:

ead_component:sova-aag-gca-ref10980

Owners:

Houston Independent School District  Search this

Creator:

Karavias, Kellie  Search this

Burton, Carol  Search this

Provenance:

Garden Club of Houston  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

United States of America -- Texas -- Houston -- Houston

Gregory Lincoln Education Center (Houston, Texas)

Scope and Contents:

16 digital images (2015-2017) and 1 file folder.

General:

Gregory-Lincoln Education Center is a fine arts magnet pre-K through 8th grade school on a 15- acre campus with many low-income and food-insecure students. In the 2011-2012 school year 14 raised gardens beds for vegetables, berries and herbs were installed and planted; the curriculum is called the Cultivated Classroom. Students grow organic food that they prepare and eat while learning about sustainability, science, math, reading, social studies and nutrition. Staple crops include squashes, tomatoes, cruciferous vegetables such as cabbage and cauliflower, berries, lettuces, beans and okra, some flowers and herbs. Other vegetables are planted each year on a trial basis. The initial garden has been expanded to include four more raised beds, 20 fruit trees, a chicken coop called The Chick-Inn, a grape arbor at the entrance, and a pollinator garden. The lay-out includes a reading circle, tool shed, compost center, picnic tables, a wash station and benches. Learning about healthy eating is an important aspect of the program, including acquiring food preparation skills for a lifetime, and cooking and learning about careers in the food industry at a nearby restaurant. Helpers in the garden include school staff, Urban Harvest employees, parents, and neighborhood volunteers who participate in a monthly "dig-it" day of weeding, mulching, and additional planting. The Garden Club of Houston supports this program through financial contributions to Urban Harvest, a non-profit that promotes community gardens.

Persons associated with the garden include: Houston Independent School District (owners, 1966- ); Urban Harvest (sponsor, 2011- ); Kellie Karavias (culinary arts teacher, 2011- ); Carol Burton (Urban Harvest coordinator, 2011- ) Names (role and dates of ownership/involvement). Example: Metropolitan District Commission (playground, Victory Garden, 1953- ); City of Cambridge (Morse School, 1953- ); Carl Koch (1912-1998) (architect, 1955); Design Partnership of Cambridge (renovation architects, 1999); Jane Hirschi, Director of City Sprouts (non-profit assisting in creating and maintaining school garden, 2001- ); Patricia Beggy (Morse school principal, 2004- ); Juliet and György Kepes (enamel panels artists, 1957); Tomie Arai (silk-screened mural artist, 1999).

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Texas -- Houston  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File TX199

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Texas

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb647c315c9-ec7a-475e-9a9e-7766fe89f17c

EDAN-URL:

ead_component:sova-aag-gca-ref32840

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2017-07-19T16:21:03.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_fUrM3l68O9o

Designer:

Eng, Miu, 1955-  Search this

Extent:

2.1 Linear feet (consisting of 1 oversized box)

Culture:

Chinese Americans  Search this

Type:

Collection descriptions

Archival materials

Newsletters

Posters

Photographs

Place:

Chinatown (Washington, D.C.)

Date:

1973-1983

Summary:

The Miu Eng Eastern Wind Collection, which dates from 1973-1983 and measures 2.1 linear feet, speaks to Ms. Eng's role as an activist and artist in Washington D.C.'s early Asian American movement. The collection includes newsletters, photographs, and booklets documenting Ms. Eng's activities with Eastern Wind, a pan-Asian American youth organization formed in 1973 that sought to document and address Asian American issues in the D.C. area. The collection also includes posters designed by Ms. Eng for several D.C. Asian American community programs of the late 1970s and early 1980s.

Scope and Contents:

Biographical files contain a 1977 award presented to Eng for her work on a large-scale mural entitled "Chinese in America: Past, Present, and Future" that was mounted at the corner of 7th and H Streets NW in Washington, DC.

Newsletters include four newsletters published by Eastern Wind, described as "the Asian American community newsletter of Washington, D.C." Highlights from the newsletters include updates on the status of Asian American Studies at University of Maryland, a history of D.C. Chinatown, and essay series on Asian Americans in the Women's Movement and the history of Asian American ethnic groups in Washington D.C. A separate booklet, "Washington, D.C.'s Chinese Community," was published in 1975 by Eastern Wind and contains archival and oral history research conducted as part of Eastern Wind's Chinatown History Project.

Photographs include three reproduced black-and-white photographs taken by Harry Chow depicting various stages of Eastern Wind's 1976 Chinatown mural project, and a 28:32 DVD slide show containing photographs taken by Chow, including daily scenes of D.C. Chinatown, the 1973 Chinese American Summer Festival, the design and production of the Chinatown mural, and covers of Eastern Wind's newsletter from 1973-1974.

Posters include posters designed by Miu Eng for D.C. Asian Pacific American Heritage Week, 1981-1983, as well as a 1979 poster Eng designed for WPFW-FM's radio show, "Gold Mountain."

Arrangement:

Miu Eng Eastern Wing Collection is arranged in 4 series.

Series 1: Biographical Files

Series 2: Newsletters

Series 3: Photographs

Series 4: Posters

Biographical / Historical:

Miu Eng (1955-present) is a Chinese American designer whose work helped document Asian American community activism in the Washington, D.C. area in the 1970s and 1980s. Born in 1955 in Hong Kong, Eng's family immigrated to the United States when Eng was 11 years old. They settled in Washington, D.C.'s Chinatown on New York Avenue NW, where her grandfather had been working as a restaurant chef.

While in high school, Eng became involved in Eastern Wind, a pioneering group of Asian American college students who had come together in August of 1973 with the goal of addressing and raising awareness about Asian American issues in the D.C. area. The group, part of a national movement of growing pan-Asian American political awareness, published a newsletter (also called Eastern Wind) through the mid-1970s, for which Eng designed covers and provided illustrations. With funding from the DC Bicentennial Commission and sponsorship by the Chinese Consolidated Benevolent Association, Eastern Wind designed and mounted a 32-foot wide mural celebrating the past, present, and future of Chinese America. Eng served as a key designer, sketching and orchestrating the painting of the mural, which would be installed on the exterior of the Jade Palace Restaurant on H Street and 7th Streets NW.

After graduating from George Washington University with a B.A. in graphic design and economics, Eng continued to provide design work for various local Asian-American community efforts, including designing posters for the WPFW Asian American radio show "Gold Mountain," D.C. and for the city's observance of Asian Pacific American Heritage Week.

Provenance:

Donated by Miu Eng in 2017.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at ACMarchives@si.edu

Rights:

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

Topic:

Activism  Search this

Asian Americans  Search this

Asian American women artists  Search this

Student movements  Search this

Civil rights  Search this

Genre/Form:

Newsletters

Posters

Photographs

Citation:

Miu Eng Eastern Wind collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Miu Eng.

Identifier:

ACMA.06-102

See more items in:

Miu Eng Eastern Wind Collection

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7a37b74d3-2335-4883-8e1c-b3ccbbbeb52a

EDAN-URL:

ead_collection:sova-acma-06-102

Collection Creator:

Lowry, Janice Ann, 1946-2009  Search this

Container:

Box 18, Folder 2

Type:

Archival materials

Date:

circa 2000s

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Janice Lowry papers, 1957-2009. Archives of American Art, Smithsonian Institution.

See more items in:

Janice Lowry papers

Janice Lowry papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98e6f9e63-9d27-4eb4-a4c9-b8493c4b331e

EDAN-URL:

ead_component:sova-aaa-lowrjani-ref242

Creator:

Fast Folk Musical Magazine  Search this

Hardy, Jack, 1947-2011  Search this

Meyer, Richard , 1952-  Search this

Names:

Fast Folk Musical Magazine  Search this

Extent:

59.02 Cubic feet (compact discs, Audiotapes (AMPEX 467), digital audiotapes, phonograph records, Reel-to-reel audiotapes, VHS videotapes)

720 Folders (Business records)

Type:

Collection descriptions

Archival materials

Ephemera

Digital audio tapes

Videotapes

Financial records

Contracts

Correspondence

Phonograph records

Business records

Audiocassettes

Photographs

Audiotapes

Compact discs

Date:

1982-2002

bulk 1982-1995

Summary:

163 reel to reel tapes,136 VHS tapes, 188 cassette tapes, 100 DAT tapes, 20 467 tapes, 6 compact discs, 16 miscellaneous audio materials, all are mostly recordings of Fast Folk events or Fast Folk recording artists; 604 folders containing information and materials relating to magazines, recordings, events and business; objects related to the Fast Folk Musical Magazine

The Fast Folk Musical Magazine records, which date from 1982-2002, document the activities of Fast Folk Musical Magazine. The collection is comprised chiefly of audio/video materials and the paper business records of the company. Audio and video materials include phonograph records, reel-to-reel tapes, VHS videotapes, audiocassettes, digital audiotapes, compact discs and miscellaneous audio material. The paper records include press materials related to Fast Folk and Fast Folk recording artists, magazine source materials, recording agreements, lyrics, artist biographies, photographs, financial documents, correspondence, planning for events and other miscellany. Additionally, there is a Fast Folk t-shirt and a bag of Fast Folk pencils, pens and erasers.

Scope and Contents:

There are two main components of the Fast Folk Musical Magazine Collection: the audio and video materials and the paper records of the company. This finding aid is a guide to the paper records and related materials.

Biographical / Historical:

The Fast Folk Musical Magazine, previously known as The CooP, was a non-profit organization that published recordings with an accompanying magazine from 1982-1996. Fast Folk began as an outlet through which singer-songwriters could perform, as there were few venues that booked folk singers in New York City during that time period. Jack Hardy (1948-2011) headed this endeavor in the Speakeasy club, sharing space with a belly dance club and a falafel restaurant. A musician's co-op was created at the Speakeasy, meaning that everything in the club was to be done by the musicians, from booking to cleaning. The first show by the musicians' co-op at the Speakeasy was in September of 1982. It was considered the best place for a musician to get a gig if he or she did not already have a record deal.

Richard Meyer (1952-2012), who eventually became editor of Fast Folk in 1985, joined the project a couple months after its inception as a performer, writer and graphic designer for the magazine. Jack Hardy introduced himself to Meyer at a concert and invited him to sign up for the Songwriter's Exchange; another project organized by Hardy in which musicians performed songs for each other that they had recently written. Slowly, the number of people working on Fast Folk grew and Meyer trained others to do what he did. An important part of the organization was its community-oriented system; it was almost entirely run by an ever-changing group of volunteers. As the staff at Fast Folk increased, it became continuously involved in shows such as the Greenwich Village Folk Festivals which were used as fundraisers.

Fast Folk provided a good way for musicians to be able to make their own record or to be part of a record, since making a record on one's own was more difficult in that era. Many commercial recording artists such as Lyle Lovett, Tracy Chapman, Michelle Shocked, Christine Lavin, Suzanne Vega and Shawn Colvin recorded some of their first songs with Fast Folk. While some musicians eventually became commercially successful, Fast Folk consistently stressed that this was not their organization's objective. By releasing many different artists' work on each recording, Fast Folk strove to expand the collective horizons of their audience and spread the power of individual songs as opposed to individual artists. Songwriters were incorporated into an issue of Fast Folk by sending in demo tapes or by being heard by Hardy and Meyer at a Songwriters' Exchange or other performance. The Fast Folk committee also had a significant input as to who was on each album. The magazine was used as an outlet for discussing current issues of songs and songwriting across the country, as well as reviewing albums and interviewing artists. Many issues were devoted to the music of different sections of the United States such as Boston, Los Angeles and the Pioneer Valley in Massachusetts. The issues of Fast Folk were sold mostly through subscription, but also at the Speakeasy club. Around the time Richard Meyer contacted the Smithsonian, Fast Folk stopped producing records and magazines, mostly due to a lack of volunteers with enough time to devote to a business of Fast Folk's size.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Provenance:

The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired these materials in 1999, when Fast Folk Musical Magazine donated its records to the Center for Folklife and Cultural Heritage. In 1996, Richard Meyer, on behalf of Fast Folk Musical Magazine, contacted Anthony Seeger, then Director of Smithsonian Folkways Records, offering the Fast Folk materials to the Smithsonian. After several years of correspondence, the Smithsonian received the collection. The Center for Folklife and Cultural Heritage agreed to keep the recordings available commercially and to retain the records in the archive, as well as to leave Fast Folk with the option to restart publication of the magazine.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Popular music -- Writing and publishing  Search this

Popular music -- 20th century -- United States  Search this

Folk music -- United States  Search this

Folk singers  Search this

Genre/Form:

Ephemera

Digital audio tapes

Videotapes

Financial records

Contracts

Correspondence

Phonograph records

Business records

Audiocassettes

Photographs

Audiotapes

Compact discs

Citation:

Fast Folk Musical Magazine records, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.FFMM

See more items in:

Fast Folk Musical Magazine records

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5060cea5e-a675-45e3-9a9e-17f441ffa5b8

EDAN-URL:

ead_collection:sova-cfch-ffmm

Collection Creator:

McFarland, J. Horace (John Horace), 1859-1948  Search this

American Rose Society  Search this

Extent:

1 Slides (photographs) (glass lantern, col., 3 x 5 in.)

Type:

Archival materials

Slides (photographs)

Place:

Hershey Department Store (Hershey, Pennsylvania)

United States of America -- Pennsylvania -- Dauphin County -- Hershey

Date:

circa 1920-1946

General note:

Lawn and bushes outside the Hershey Department Store and the large stone house owned by Edwin Hershey. On the corner of Chocolate and Park Avenues. The large stone house next to the store was torn down sometime in the 1960s or 1970s. Today, the department store building is called the Hershey Press Building which houses several restaurants and is the headquarters for Hershey Entertainment and Resorts.

The wooden garden furniture is similar in design to the wooden bridges Milton Hershey had placed over Spring Creek in the early years of Hershey Park.

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Foundation planting  Search this

Chairs  Search this

Outdoor furniture  Search this

Lawns  Search this

Rustic work  Search this

Department stores  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, J. Horace McFarland Company Collection.

Identifier:

AAG.MCF, Item PA679001

See more items in:

J. Horace McFarland Company collection

J. Horace McFarland Company collection / Series 1: Garden Images / United States / Pennsylvania / PA679: Hershey -- Hershey Department Store

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6e12a5a91-a824-40bf-983f-68fbdd163fe9

EDAN-URL:

ead_component:sova-aag-mcf-ref13818

Artist:

Corky Lee, 5 Sep 1947 - 27 Jan 2021  Search this

Sitter:

Yuri Kochiyama, 21 May 1921 - 1 Jun 2014  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 23.4 × 15.5 cm (9 3/16 × 6 1/8")

Sheet: 25.4 × 20.4 cm (10 × 8 1/16")

Type:

Photograph

Place:

United States\New York\Kings\New York

Date:

1980 (printed 2016)

Topic:

Costume\Headgear\Hat  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Architecture\Building  Search this

Exterior\Cityscape  Search this

Sign  Search this

Yuri Kochiyama: Female  Search this

Yuri Kochiyama: Society and Social Change\Reformer\Activist\Civil rights activist  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery; Smithsonian Institution

Object number:

NPG.2016.102

Restrictions & Rights:

Usage conditions apply

Copyright:

© Corky Lee Estate

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm44de32ccf-436e-4390-a75d-8abcc0ee9a77

EDAN-URL:

edanmdm:npg_NPG.2016.102

Collection Creator:

Tatti, Benedict, 1917-1993  Search this

Extent:

0.8 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

1937-1976

Scope and Contents note:

Printed material contains announcements; invitations; brochures, exhibition catalogues and checklists; clippings; periodicals; newsletters; and reproductions, including Benedict Tatti's prototype of "Bob's Big Boy," a commissioned work for a chain of restaurants in the United States. Monographs include Soldier Art, An Infantry Journal, featuring Tatti's sculpture for which he won first prize in the United States Army's National Soldier Art Competition and two books on video art that include essays written by Benedict Tatti.

Arrangement note:

Files are arranged by format and materials in the folders are in chronological order.

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Benedict Tatti, 1936-2011, bulk 1945-1993. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.tattbene, Series 8

See more items in:

Benedict Tatti papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw920131ba8-689f-47e1-a407-fa3b4f13aaec

EDAN-URL:

ead_component:sova-aaa-tattbene-ref73

Creator:

Gellert, Hugo, 1892-1985  Search this

Names:

American Artists' Congress  Search this

Art of Today Gallery (New York, N.Y.)  Search this

Artist's Committee of Action (New York, N.Y.)  Search this

Artists Coordination Committee (New York, N.Y.)  Search this

Artists Council  Search this

Artists for Victory, Inc.  Search this

Committee to Defend V.J. Jerome  Search this

Hungarian Word, Inc.  Search this

National Society of Mural Painters (New York, N.Y.)  Search this

Derkovits, Gyula, 1894-1934  Search this

Evergood, Philip, 1901-1973  Search this

Fast, Howard, 1914-2003  Search this

Fiene, Ernest, 1894-  Search this

Gellert, Ernest  Search this

Gellert, Lawrence, 1898-1979  Search this

Gottlieb, Harry, 1895-  Search this

Gropper, William, 1897-1977  Search this

Kent, Rockwell, 1882-1971  Search this

Lie, Jonas, 1880-1940  Search this

Refregier, Anton, 1905-  Search this

Reisman, Philip, 1904-  Search this

Sequenzia, Sofia  Search this

Extent:

6.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Photographs

Date:

1916-1986

Summary:

The papers of graphic artist, muralist, and activist Hugo Gellert measure 6.9 linear feet and date from 1916 to 1986. They document his career as an artist and organizer for the radical political left through an interview, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, extensive printed materials (many of them illustrated by Gellert), photographs, and artwork.

Scope and Content Note:

The papers of graphic artist, muralist, and activist Hugo Gellert measure 6.9 linear feet and date from 1916 to 1986. They document his career as an artist and organizer for the radical left through an oral interview conducted by Sofia Sequenzia, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, clippings, exhibition catalogs, various printed materials illustrated by Gellert, pamphlets, periodicals, mass mailings, photographs, and artwork.

Biographical Material includes an audio interview with Gellert; official documents related to memberships, property, and legal matters; financial documents that include bills, receipts, and contracts related to professional activities; papers of Gellert's brothers, Lawrence and Ernest; and artifacts. Correspondence is with other artists, writers, publishers, activists, friends, and family, including Ernest Fiene, Rockwell Kent, Harry Gottlieb, William Gropper, Philip Evergood, Howard Fast, and Jonas Lie. Writings include essays, book projects, notes, and notebooks written by Gellert; and stories and articles by other authors, including typescripts of early twentieth-century Hungarian short stories collected by Gellert.

Organizational Records are related to political and art organizations in which Gellert was an active organizer, officer, and in some cases, a founder. Because of his central role in many of these organizations, records often contain unique documentation of their activities. Records are found for the American Artists Congress, the Art of Today Gallery, the Artists Committee of Action, the Artists Coordination Committee, the Artists Council, Artists for Victory, Inc., the Committee to Defend V.J. Jerome, Hungarian Word, Inc., the National Society of Mural Painters, and other organizations.

Printed materials include a variety of political publications and periodicals with illustrations by Gellert, including New Masses, Art Front, Magyar Szo, and American Dialog; clippings related to his career, exhibition catalogs, political pamphlets, Hungarian literature, and mass mailings received from political organizations. Photographs contain a few personal photographs but are mostly news and publicity photographs, many of which depict prominent Communists and other newsmakers. Artwork includes sketches, drawings, designs, prints, and production elements for Gellert's artwork, as well as prints and drawings by Philip Reisman, Gyula Derkovits, and Anton Refregier.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1917-1982 (Box 1 and OV 9; 0.5 linear feet)

Series 2: Correspondence, circa 1920-1986 (Boxes 1-2, 8; 0.8 linear feet)

Series 3: Writings, circa 1916-1970 (Boxes 2 and 8; 0.7 linear feet)

Series 4: Organizational Records, circa 1920-1977 (Boxes 3, 8, and OV 9; 1 linear foot)

Series 5: Printed Materials, circa 1920-1986 (Boxes 4-6, 8, and OV 9; 3 linear feet)

Series 6: Photographs, circa 1920-1959 (Boxes 6-7; 0.5 linear feet)

Series 7: Artwork, 1927-1981 (Box 7, OV 10; 0.4 linear feet)

Biographical Note:

Graphic artist, muralist, and activist Hugo Gellert was born Hugo Grünbaum in Budapest, Hungary in 1892, the oldest of six children. His family immigrated to New York City in 1906, eventually changing their family name to Gellert.

Gellert attended art school at Cooper Union and the National Academy of Design. As a student, he designed posters for movies and theater, and also worked for Tiffany Studios. A number of student art prizes with cash awards enabled him to travel to Europe in the summer of 1914, where he witnessed the outbreak of World War I, an experience which helped shape his political beliefs. Aesthetically, he was also influenced by a folk revival among Hungarian artists at the time of his trip, and was more impressed, he later said, with the street advertising in Paris than he was with the cubism he saw in the Louvre.

Returning to the United States, Gellert became involved in the Hungarian-American workers' movement, and contributed drawings to its newspaper, Elöre (Forward). He remained involved in Hungarian-American art and activism throughout his life, including membership in the anti-fascist group, the Anti-Horthy League. When members of the fascist Horthy government unveiled a statue of a Hungarian hero in New York in 1928, Gellert hired a pilot and dropped leaflets on the group, a stunt for which he was arrested. In the 1950s, Gellert served as director of Hungarian Word, Inc., a Hungarian-language publisher in New York.

Gellert's political commitment and art remained deeply intertwined throughout his life, as he continually sought to integrate his commitment to Communism, his hatred of fascism, and his dedication to civil liberties. Throughout the 1910s and 1920s, he contributed artwork to several magazines of the radical left, including Masses and its successors Liberator and New Masses, both of which featured Gellert's artwork on their inaugural issue. Through Masses, he came to know other radicals such as Mike Gold, John Reed, Louise Bryant, Max Eastman, Floyd Dell, Anton Refregier, William Gropper, Harry Gottlieb, Bob Minor, and Art Young, and with them he followed the events of the Bolshevik revolution in Russia with sympathy and growing political fervor.

His brother, Ernest Gellert, also a socialist and activist, was drafted into the military but refused to serve. He died of a gunshot wound under suspicious circumstances while imprisoned at Fort Hancock, New Jersey, as a conscientious objector. Traumatized by this event, Gellert fled to Mexico to avoid conscription. In 1920 to 1922, he taught art at the Stelton School in New Jersey, a radical, utopian community school. He participated in the cultural scene of Greenwich Village, working on set designs, publications, and graphic art for political productions. He founded the first John Reed Club in 1929 with a group of Communist artists and writers including Anton Refregier, Louis Lozowick, and William Gropper. Initially, the group held classes and exhibitions, and provided services for strikes and other working-class activism. Later, John Reed Clubs formed around the country and became a formal arm of the United States Communist Party (CPUSA).

In the late 1920s, Gellert became a member of the National Society of Mural Painters (which, partly due to Gellert's activism in the group, became the Mural Artists' Guild local 829 of the United Scenic Artists Union of the AFL-CIO in 1937. Other members included Rockwell Kent, Anton Refregier, Arshile Gorky, and Marion Greenwood). In 1928, he created a mural for the Worker's Cafeteria in Union Square, NY. Later murals include the Center Theater in Rockefeller Center, the National Maritime Union Headquarters, the Hotel and Restaurant Workers' Union Building, NYC, the interior of the Communications Building at the 1939 World's Fair, and the Seward Park Housing Project in 1961.

In 1932, Gellert was invited to participate in a mural exhibition at the Museum of Modern Art, and submitted a political mural about the robber barons of contemporary American politics and industry called Us Fellas Gotta Stick Together - Al Capone. The museum attempted to censor the mural, along with the murals of William Gropper and Ben Shahn. Other artists threatened to boycott the exhibition over the censorship and were successful in restoring them to the show.

The cooperation of artists in this controversy foreshadowed a larger protest in 1934, organized by Gellert, Saul Belman, Stuart Davis, and Zoltan Hecht, when Diego Rivera's pro-labor mural was destroyed at Rockefeller Center. After the incident, the group formed the Artists' Committee of Action and continued to fight censorship and advocate for artists' interests and welfare. They also co-published the magazine Art Front with the Artists' Union, a labor organization. Gellert served for a time as editor of Art Front, and chairman of the Artists' Committee of Action.

Gellert was active in producing both art and strategic policy for the cultural arm of the CPUSA, and he worked to mobilize the non-communist left, often referred to as the Popular Front. In 1933 he illustrated Karl Marx's Capital in Lithographs, and in 1935, he wrote a Marxist, illustrated satire called Comrade Gulliver, An Illustrated Account of Travel into that Strange Country the United States of America. Other published graphic works include Aesop Said So (1936) and a portfolio of silkscreen prints entitled Century of the Common Man (1943).

Other artist groups he helped to found and/or run include the American Artist's Congress, a Communist organization founded with Max Weber, Margaret Bourke-White, Stuart Davis, Yasuo Kuniyoshi, Harry Sternberg, and others, which held symposia and exhibitions between 1936 and 1942; the Artists' Coordination Committee, an umbrella group of national organizations which sought protections for federally-employed and unionized artists; Artists for Victory, Inc., which formed in 1942 to mobilize artists in support of the war effort; and the Artists' Council, formed after the war to advocate for artists' welfare and employment.

Gellert maintained his loyalty to the Communist party throughout the post-war period despite growing disillusionment in the Popular Front over the actions of Josef Stalin, and despite the intense anti-communist crusades in the late 1940s and 1950s. He was investigated by the House of Un-American Activities Committee (HUAC) and was nearly deported. He spent a number of years during this period in his wife's native Australia. Returning to the United States in the early 1950s, he threw his efforts into the defense of others who faced prison, deportation, and the blacklist following the HUAC hearings. He established The Committee to Defend V.J. Jerome in 1951 when Jerome, the cultural commissioner of CPUSA, was convicted under the Smith Act. The writer Dorothy Parker was the group's treasurer.

In 1954, Gellert established the Art of Today Gallery in New York City with Rockwell Kent and Charles White to provide an exhibition venue for blacklisted artists. Exhibitions included Maurice Becker, Henry Glintenkamp, Harry Gottlieb, Kay Harris, and Rockwell Kent. Gellert served as the gallery's secretary until it closed in 1957.

In the 1960s until his death in 1985, Gellert continued his activism through involvement in grassroots political organizations. Unlike many of his radical contemporaries, Gellert lived to see the revival of some of the ideas of the progressive era of the thirties in the countercultural years of the late 1960s and early 1970s. There were retrospectives of his work in Moscow in 1967 and in his native Budapest in 1968, and he appeared in Warren Beatty's film Reds in 1981.

Sources used for this essay include James Wechsler's 2003 dissertation "The Art and Activism of Hugo Gellert: Embracing the Spectre of Communism," his essay "From World War I to the Popular Front: The Art and Activism of Hugo Gellert," ( Journal of Decorative and Propaganda Arts number 24, Spring 2002), and Jeff Kisseloff's biographical essay for the 1986 Hugo Gellert exhibition at the Mary Ryan Gallery.

Related Material:

Among the holdings of the Archives of American Art are an oral history with Hugo Gellert from 1984, a recording of a lecture Gellert gave at the Whitney Museum of American Art in 1985, and additional records of Artists for Victory, Inc., 1942-1946.

The Tamiment Library and Robert F. Wagner Labor Archives at New York University holds additional papers of Hugo Gellert.

Provenance:

A portion of the papers were donated in 1970 by Hugo Gellert. Additional papers were donated by Gellert and his wife, Livia Cinquegrana, in 1983 and 1986.

Restrictions:

The collection has been digitized and is available online via AAA's website.

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.

Topic:

Artists' writings  Search this

Politics in art  Search this

Works of art  Search this

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

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

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

Genre/Form:

Interviews

Photographs

Citation:

Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.gellhugo

See more items in:

Hugo Gellert papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9eb96ed42-b751-47f6-a0ca-038014c8800e

EDAN-URL:

ead_collection:sova-aaa-gellhugo

Biogeographical Region:

78 - Southeastern U.S.A.  Search this

Collector:

Diane S. Littler  Search this

M. D. Hanisak  Search this

Place:

Saint Lucie County. Fort Pierce. Offshore from PV Martins Restaurant., Florida, United States, North America

Collection Date:

20 Jul 2002

Taxonomy:

Chromista Ochrophyta Phaeophyceae Dictyotales Dictyotaceae

Published Name:

Dictyota sp.

Barcode:

04139430

USNM Number:

229094

See more items in:

Botany

Algae

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/35e5a43f3-2258-4634-be14-55fe4e348ec7

EDAN-URL:

edanmdm:nmnhbotany_16761205